The Futurists, and their take on the inevitable progression of modern and future musics, and how it seems to correlate with both the growth of different musical themes/styles of the last 30 years and that of today's music:Excerpts from "The Art of Noises" by Luigi Russolo, a note written to a futurist composer by the name of Balilla Pratella:
"Today music, as it becomes continually more complicated, strives to amalgamate the most dissonant, strange and harsh sounds. In this way we come ever closer to noise-sound
"To excite and exalt our sensibilities, music developed towards the most complex polyphony and the maximum variety, seeking the most complicated successions of dissonant chords and vaguely preparing the creation of musical noise. This evolution towards “noise sound” was not possible before now."
"Let us cross a great modern capital with our ears more alert than our eyes, and we will get enjoyment from distinguishing the eddying of water, air and gas in metal pipes, the grumbling of noises that breathe and pulse with indisputable animality, the palpitation of valves, the coming and going of pistons, the howl of mechanical saws, the jolting of a tram on its rails, the cracking of whips, the flapping of curtains and flags."
When reviewing Luigi Russolo's various claims of the inevitable usage of extreme and discordant noise-sounds in modern and future music to keep the essence of music alive, away from the slow decay of rehashed string and wind instruments, one cannot help but have a myriad of recent musical changes & breakthroughs come to mind. Later on in his letter to Pratella, Russolo attempts to categorize the new classifications of "noise-sound" instruments/objects/etc. based on the different types of noise they produce. These sounds were categorized as follows:1.
Noises obtained by percussion on metal, wood, skin, stone, tarracotta, etc.
Voices of animals and men:
It would strike one as interesting that, within approx. the next 15 years after this letter was written, the first two electricity-fueled instruments were created (the Theremin was created around 1920 by Leon Theremin, and the first electric guitar was created in 1928, though they were not commercially produced for consumers until some years later). With the birth of the latter instrument especially, Western culture saw profound and abstract growths in its musical culture. "Rock" music became gradually more and more accepted and also more and more discordant; it's guitar riffs being plunged deeper and deeper into electronically-altered frequencies, and it's vocalizations lending themselves more and more to those created by beasts of the wilderness. In the early 1980's, death metal and black metal found its roots in bands such as Venom, who openly embraced the most extreme discordance that rock music had to offer.
Even prior to the foundation of "death" and "black" metal in the late 70's-early 80's era, the Industrial movement of the late 60's-early 70's brought with it even more of immediately identifiable musical elements prophesied by Rusollo back in 1913, such as the usage of metal, wood, and other organic "found" objects, used in conjunction with both now-typified rock instruments, and many new electricity-fueled instruments such as synthesizers and electronic drums.
It seems that in many of there writings, when discussing not only art and music and the roles they will play in the the new "industrialized" future, but numerous other aspects of a growing industrial society, much of the Futurists' overall-vision can be seen in the world around us as a society; eck... but that is for another post altogether.