ABSTRACT
The introduction of noise into music was necessary because traditional theories were no longer sufficient to express modern sensibility. The main noises of everyday life fell into one of these six categories, or could be identified using combinations of the primary noises. The need for a new musical language finds an ideal solution in evading even temperament. With the aim of enriching the palette of musical sounds, their timbres and their nuances, the semitone's status as the indivisible, fundamental unit of the tonal system is contested. Since nature has created an infinite gradation of sounds, it should be possible to make music using the entire acoustic spectrum, including enharmonic intervals. Analyzing noises, classifying them into categories and considering them as complex sounds, are interesting procedures when trying to abstract the characters of sounds and reproduce them. Although noise intoners were designed to reproduce urban noises, the compositional ideals of Futurist musicians were to avoid a simple imitation of everyday life.
