索引 AL7 Audio Image Text

Audio, hljóð, 音

1250 Gen. & Ex. 460 Wit of musike, wel he knew.


The
universe
(which
others
call
the
Library)
is
composed
of
an
indefinite,
perhaps
infinite
number
of
hexagonal
galleries.
In
the
center
of
each
gallery
is
a
ventilation
shaft,
bounded
by
a
low
railing.
From
any
hexagon
one
can
see
the
floors
above
and
below,
one
after
another,
endlessly.
The
arrangement
of
the
galleries
is
always
the
same:
Twenty
bookshelves,
five
to
each
side,
line
four
of
the
hexagon's
six
sides;
the
height
of
the
bookshelves,
floor
to
ceiling,
is
hardly
greater
than
the
height
of
a
normal
librarian.
One
of
the
hexagon's
free
sides
opens
onto
a
narrow
sort
of
vestibule,
which
in
turn
opens
onto
another
gallery,
identical
to
the
first
identical
in
fact
to
all.

  Qyr ⁹⁹

A symple audio player sans typical distasteful features: downloading/uploading information, unwanted metadata crawl (especially the clumsy inconsistent spew record labels associate with classical recordings), irritating album art … temptation of scrub and skip.

Add audio files to playlist (∮), or drag and drop. Ninety-nine files maximum per playlist. Save playlist (⏚), load playlist (⇱) or drag and drop, Copy playlist files (↯). Format .qyr is a text file format.

Play modes: Sequential and Aleatoric, playlist looping ∞, interstitial vignettes ◯.

Spacebar pause/resume, arrow right and down to advance through the playlist, arrow left and up retreat, return plays/restarts a selected file. Drag a file circle icon onto the triangle play icon to play/restart the file and to reset the aleatoric order of the playlist.

Reorder files by dragging the file circle icon onto an unselected file.

play, n. a. Of living beings: Active bodily exercise; brisk and vigorous action of the body or limbs, as in fencing, dancing, leaping, swimming, clapping of the hands. Obs. or merged in other senses. 725: Corpus Gloss. 1477 “Palestra, plaeᵹa.” 900: Cynewulf Crist 743 “Þa wearð burᵹwarum, eadᵹum, ece ᵹefea Æþelinges pleᵹa.” 1000: Guthlac 1334 “Lagu-mearᵹ snyrede ᵹeblæsted to hyðe, þæt se hærn-flota æfter sund-pleᵹan sond-lond ᵹespearn.” 1000: Cædmon's Gen. 1989 “Þær wæs heard pleᵹa, wælgara wrixl, wiᵹcyrm micel, hlud hildesweᵹ.” 1050: O.E. Chron. an. 1004 (MSS. C. & D.) “Þæt hi næfre wyrsan hand pleᵹan on Angel cynne ne ᵹemetton þonne Ulfcytel him to brohte.” 1050: Gloss. in Wr.-Wülcker 414/14 “Gesticulatio, pleᵹa.” 1200: Trin. Coll. Hom. 211 “C[h]orea ceruisia forum monasterium..þat on is pleȝe, þat oder [sic] drinch, þe þridde chepinge, þe ferðe chirche.” 1290: St. Eustace 280 in Horstm. Altengl. Leg. (1881) 217 “Þere nes non at þare plawe Wiþ sheld and spere out i-drawe Þat hoere dunt atstode.” play, n. b. The gestures made by cock birds to attract the hens. 1875: `Stonehenge' Brit. Sports i. i. iv. 1. 72 “The `play' of the capercaillie is very remarkable; it is confined to the males, who indulge in it in order to astonish and excite the hens.” play, n. c. The action of lightly and briskly wielding or plying (as a weapon in a contest). Also in combinations, as buckler-play, sword-play. Beowulf 2039 “Oð ðæt hie forlæddan to ðam lindpleᵹan swæse ᵹesiðas.” 850: Kentish Gloss., “Libera tuta [tua] pelta, ᵹefria ðine plæᵹsceldæ.” 1000: Waldere 13 “Ðy ic ðe ᵹesawe æt ðam sweordpleᵹan..wiᵹ forbuᵹan oððe on weal fleon.” 1670: [see sword-play]. 1839: Longfellow Black Knight ii, “In the play of spears, Fell all the cavaliers.” 1860: Dickens Uncomm. Trav. vii, “Some of the sword play being very skilful.” 1899: E. J. Chapman Drama Two Lives, Fir-tree 78, “I thrust him to earth, and he lay there, For all his boasted play.” 1901: Daily Chron. 21 Oct. 8/6 “The latter's play being very correct, and his parries both neat and effective.” play, n. 2. a. Of physical things: Rapid, brisk, or light movement, usually alternating or fitful; elusive change or transition (of light or colour); light motion about or impact upon something. 1628: F. Grevil Mustapha Chorus ii. Wks. (1633) 116 “A play of Sunne-motes from mans small World come.” 1801: Southey Thalaba vi. viii, “Alternate light and darkness, like the play Of sunbeams on the warrior's burnish'd arms.” 1805: W. Saunders Min. Waters 494 “This operation always admits the play of air upon the feverish body.” 1850: Bryant Saw-Mill Poet. Wks. (1903) 370 “The saw, with restless play, Was cleaving through a fir-tree Its long and steady way.” 1875: Dawson Dawn of Life ii. 13 “Iridescent play of colours.” 1878: Sir G. G. Scott Lect. Archit. (1879) I. 224 “This gives..great play of light and shade.” play, n. b. Short for play of light or colour (as above). 1698: Fryer Acc. E. India & P. 214 “You may set it upon full scraped Ivory, which graceth the Play of the Stone.” 1825: J. Nicholson Operat. Mechanic 715 “The intention of foils is either to increase the lustre or play of the stones, or more generally improve the colour, by giving an additional force to the tinge.”

  A Subtle Despondence

Subtle interpolative phase distortion. In basic signal theory, a signal’s phase describes the position of the waveform cycle at any given point in time. When a device, filter, or transmission path alters the phase of some frequencies relative to others, it is said to introduce phase distortion. This means that certain frequency components of the signal arrive at different times (their phases are shifted disproportionately), resulting in audible impacts, and group delay. In typical audio playback chains, some amount of phase distortion is inevitable—loudspeakers, analog electronics, and digital filters can introduce it. Whether or not it is objectionable depends on severity and context sensitivity.

subtle, a. Forms: α. 3-7 sotill, 4-5 -el, il(le, -yl(e, 4-6 -ell, 5-6 -yll, (4 -ele, -ile, -ylle, soutil, -yle, 5 sotule, 6 sot(t)le); 4-5 sutell, -il, 4-6 -el, 5-6 suttell, -ill, 5-7 suttle, 6-7 sutle (4 sutile, -ill, 5 -elle, -ille, suttyle, Sc. sutaille, suttale, sittell, 6 sut(t)yll). β. 6- subtle.[a. OF. soutil, sotil, sutil (12th c.), mod.F. subtil (see subtile) = Pr. sotil, It. sottile, Sp. sutil, Pg. subtil:—L. subtīlem, nom. -īlis, for *subtēlis:—*subtexlis app. finely woven, f. sub under + *texlā, tēla woven stuff, web (cf. texture). In the 1st Folio of Shakespeare the instances are about equally divided between the spellings subtle and subtil(e, -ill. In the first editions of Milton's poems the spelling suttle (with suttlety, suttly) is the only one, except in Paradise Regained, which has subtle (with subtilty).] subtle, a. 1. Of thin consistency, tenuous; not dense, rarefied; hence, penetrating, pervasive or elusive by reason of tenuity. 13..: E.E. Allit. P. A. 1050 “Þurȝ woȝe & won my lokyng ȝede, For sotyle cler moȝt lette no lyȝt.”1400: Mandeville (Roxb.) iii. 9 “Abouen on þir hilles es þe aer so clere and so sutill þat men may fele na wynd þare.”1422: Yonge tr. Secr. Secr. lxiv. 240 “Sutil and thyn spetil that descendyth..fro the Palete of the mouth to the tonge.”1566: R. Edwards Damon & Pithias (1571) Cijb, “But mee thinkes, this is a pleasant Citie, The Seate is good,..The Ayre subtle and fine.”1660: Boyle New Exp. Phys.-Mech. ix. 74 “The most subtle Chymical Spirits.”1665: Dryden Ind. Emp. ii. i, “Arise ye subtle Spirits, that can spy.”1799: Med. Jrnl. I. 250 “There was only one part of the air, namely, the most subtle and elastic, that could be called vital.”1842: Browning In a Gondola 33 “The Arab sage In practising with gems can loose Their subtle spirit in his cruce And leave but ashes.”1863: Tyndall Heat ii. 23 “The material theory supposes heat to be..a subtle fluid stored up in the inter-atomic spaces of bodies.”1891: Farrar Darkness & Dawn xix, “A sweet and subtle odour seemed to wrap her round in its seductive atmosphere.”

  Faltung in Zeit

Revised sixty-four bit implementation of my convolution process. I've changed the gain stage slightly, but for the most part the process is very similar to version six. Convolution is a way of taking two separate pieces of information—often thought of as two functions or signals—and combining them to see how one modifies or “smears” the other over time. The process merges two signals into a single output. Imagine one signal as being “slid” across the other. At each point of overlap, look at how they interact: multiply their values and collect (sum) all the products. As you slide further, you keep track of how each part of the first signal lines up with each part of the second signal. By the end of the process, you have a new signal that captures the overall effect one has on the other at all possible alignments. Convolution is capturing the way one signal spreads out or distributes another signal across time, reflecting how the two interact in a systematic way.

convolute, a. (n.) Hence ˈconvolutely adv. ˈconvolute, v. rare. [f. L. convolūt-, ppl. stem of convolvĕre: see convolve.] ˈconvolute, v. rare. 1. trans. To twist or coil round (something); to embrace. Obs. 1698: J. Petiver in Phil. Trans. XX. 404 “These Leaves..stand cross-wise, or alternately opposite, convoluting the Stalk.” 1702: Ibid. XXIII. 1256 “Its Leaves are narrow, long and apt to convolute, or close round the Panicle.” ˈconvolute, v. rare. 2. To coil up, form into a coiled or twisted shape (fig. in quot.). See also convoluted. 1887: Saintsbury Elizab. Lit. ii. 42 “The special Elizabethan sin of convoluting and entangling his phrases.” ˈconvolute, v. rare. 3. intr. To twist or wind about. nonce-use. 1847: M. Edgeworth Orlandino 29 “Rolling and winding, convoluting and evoluting.” ˈconvolute, v. rare. Hence ˈconvoluting ppl. a. 1818: Keats Sleep & Poetry 176 “The fervid choir that lifted up a noise Of harmony, to where it aye will poise Its mighty self of convoluting sound.” convoluted, ppl. a. [f. prec. + -ed 1: cf. F. convoluté (found without the implied verb), and convolute a.] convoluted, ppl. a. Of a coiled, twisted, or sinuous form; exhibiting convolutions. (Chiefly Zool. and Anat.) 1811: J. Pinkerton Petralogy I. 212 “This..is found contorted, or convoluted, in fantastic forms.” 1836: Todd Cycl. Anat. I. 112/1 “A short wide convoluted intestine.” 1849: Murchison Siluria xvi. 392 “The convoluted and broken rocks.” 1873: Mivart Elem. Anat. ix. 370 “The inner surface of the cerebral hemisphere..is very much convoluted.” convolution [n. of action f. L. convolūt-, ppl. stem of convolvĕre to roll together: see convolve.] convolution 1. The action of folding (obs.), coiling, twisting, or winding together; the condition of being coiled or convoluted. 1597: J. King Jonas (1618) 375 “A conuolution or folding vp together.” 1674: Grew Anat. Plants iii. ii. vi. (1682) 137 “The Claspers of a Vine..have also a Motion of Convolution.” 1678: Cudworth Intell. Syst. (1837) I. 152 “Where, after many convolutions and evolutions..they chanced..to settle.” 1730: Thomson Autumn 837 “Toss'd wide around, O'er the calm sky, in convolution swift.” 1835: Lindley Introd. Bot. (1848) I. 393 “If the convolution is imperfect..the ovules are partially naked.” convolution 2. A fold, twist, turn, winding, sinuosity (of anything rolled or coiled up, or of a coiled form). 1545: T. Raynalde Byrth Mankynde 26 “It hath many conuolucyons, as wormes lyeng together haue.” 1667: Boyle Orig. Formes & Qual., “To cast it self into such grand..convolutions as the Cartesians call Vortices.” 1682: T. Gibson Anat. (1697) 375 “Full of windings, like the convolutions of the guts.” 1774: Goldsm. Nat. Hist. (1776) VII. 5 “The center round which every succeeding convolution of the shell is formed.” 1871: Tyndall Fragm. Sc. (ed. 6) II. xvi. 439 “Each additional convolution..adds its electro-motive force to that of all the others.” 1873: Black Pr. Thule vi. 89 “The curious convolutions of this rugged coast.” convolution 3. Anat. Each of the sinuous folds or windings of the surface of the cerebral hemispheres in man and the higher animals. 1615: Crooke Body of Man 449 “The convolutions of the Brain.” 1804: Abernethy Surg. Obs. 203 “Upon the surface of the convolutions of the cerebrum.” 1880: Bastian Brain 279 “In the lowest Quadrupeds there are no convolutions.” convolution 4. Math. An integral function of two or more given functions f1, f2,, fn of the type f1(u1)f2(u2 u1)fn(xun 1)du1du2dun1; an analogous summation. 1934: Amer. Jrnl. Math. LVI. 662 “Bernoulli convolutions.” 1935: Trans. Amer. Math. Soc. XXXVIII. 48 “Distribution functions and their convolutions (`Faltungen').” 1947: Duke Math. Jrnl. XIV. 236 “The convolution of two positive functions is positive.” 1963: G. F. Simmons Introd. Topol. & Mod. Analysis xii. 305 “Let G = {, 2, 1, 0, 1, 2,} be the additive group of integers... The linear operations are defined pointwise,..and the convolution of f and g..by (f*g)(n) = m=f(nm)g(m).” 1968: P. A. P. Moran Introd. Probability Theory vi. 265 “The operation of a convolution..has many of the properties of multiplication but there is not a complete analogy,..since `division' is not always possible... The class of all distributions is made into a semi-group (but not a group) by the operation of convolution.” 1979: Nature 1 Mar. 27/1 “The procedure we have implemented involves a direct synthesis of a `dirty' map which is the convolution of the true brightness distribution with the response function of a point source.”

  La Femme 100 têtes

Chunk based (enveloped and overlapped) aleatoric recombination, various effects: mixing, retrograde, granular distortion, equalization positioning, stereo movement, and pitch shifting. Les dictionnaires, les mappemondes, les livres illustrés, les répertoires généraux des choses dans lesquels les enfants s’empressent, dès qu’ils le peuvent, dès qu’ils savent lire et voir, de débrouiller la trame, l’enchevêtrement sans fin de la vie et de la sexualité, cherchant à retenir les pages et les mots les plus troubles comme on cherche à retenir une vision nocturne, ivres et hallucinés de rencontres, incapables de saisir l’éloignement de temps qui les séparent des individus et des objets dont il est là rendu compte. Tous les règnes, animal, végétal, minéral, tous les degrés d’insectes, de poissons, les situations d’organes, tous les battements d’ailes et les nervures des feuilles, les arcs-en-ciel traversés d’avions. Je suis une abeille, une baleine, un oiseau à capacité d’homme et tout ce qui vit éprouve dans un autre corps et dans une autre forme, à échelle de champignon ou de roche, des attitudes ou des sentiments d’homme. Cette appréciation anthropomorphique du monde, que le plus constant apprentissage et contrôle de la raison ne parvient jamais à parfaitement dissiper est porteuse d’une infinité d’interprétations du monde et de bonheurs dans le monde. C’est elle qui donne au moindre objet trouvé, au premier détritus, comme à la plus belle et à la plus délicate image entrevue une charge de rêve et de nostalgie métaphysique. La vie s’apprend comme un collage dont l’espace est le seul maître. Il n’y a pas de temps dans l’enfance, la jeunesse et la vieillesse sont deux races différentes qui vivent le même moment, les armées féodales, les grues dans les ports, les bouches qui s’embrassent dans l’extase d’un baiser s’impriment dans la mémoire sur le même champ d’images et nul mieux que Loplop n’a tant montré les images et présenté la vie. Je ne suis pas Loplop, le supérieur des oiseaux, je n’habite pas une tour, je n’habite pas le ciel, je n’habite pas la mer. Je l’imagine pourtant se jetant sous un ciel d’azur du haut d’une falaise et mesurant soudain, stupéfait, qu’il vole. Alors, toutes les possibilités s’ouvrent. Tantôt le vol pressé, affairé, le vol d’arbalète involontaire du cormoran qui va de récif en récif explorer ce qu’il sait ; tantôt le vol lent, indécis, les allées et venues des mouettes qui se retournent, le ventre dirigé vers la lumière. L’écume qui s’amasse livre d’autres messages, le vent fait battre les ailes et le cœur. Chaque vague est un monde comme chaque touffe d’herbe, ce qui est dessous surgit à la vue, le regard transperce l’eau, divise la roche, sonde la terre. Les multitudes animales que notre course d’homme ne nous permet pas d’appréhender, celui qui s’est choisi un regard d’oiseau, un vol d’oiseau, peut les saisir. La vitesse de sa traversée modifie les visions, les exaspère, les rétracte, les concentre. Vivement, incantatoire et obsédant comme une introduction de Beethoven, la sonate aérienne où Loplop convie dans les villes d’images commence avec la brume, traverse le plein midi, léger et éclatant toupet de plumes, et se perd dans la nuit, frôlant les arbres. Le soleil et la lune de la ville entière, de la Babylone de peignes dressée sur les collines, de la trame des abeilles perdues dans la cathédrale, se déplacent avec lenteur au-dessus de la terre. Nuit quotidienne retrouvée, jour d’éternel retour toujours chassé, l’insecte éphémère dure tandis qu’il volète. Celui qui, homme, décide ainsi de regarder le monde à hauteur d’arbre, sur la lisière des bois, peut traverser la nature, parcourir les cités, contempler l’histoire en atténuant les distances, en bouleversant les profils. L’automatisme psychique s’applique aussi à la vision. Mais l’image antérieure, l’hallucination initiale ne se dissout pas, elle s’inscrit dans celles qui la suivent, comme le fond qui est leur condition d’être, et dont une sera choisie, moment de la vie, pour être fixée dans un tableau. La rêverie d’oiseau s’invente dans les draps de lit, la torpeur de la maladie, dans les taches observées au plafond, les pérégrinations tentées sur les nuages. Elle s’invente dans la lente progression à travers le temps et la lourdeur vide des musées, les visites rendues quotidiennement aux vieux maîtres italiens, allemands, elle est là, vivante et figée dans les oiseaux de Carpaccio, la sérénité immobile, silencieuse, monstrueuse de Crivelli et de Tura. L’humour hors de la norme, l’humour magnifique est de ressentir l’urgence de ce qui est là figé, localisé dans la lumière oubliée du quattrocento et de la Flandre, de prendre goût aux symboles, d’animer la forêt, qui est le vert même, du Saint Georges d’Altdorfer.

surrealism Also in F. form surréalisme, and with capital initial.[ad. F. surréalisme, f. sur- super- + réalisme realism; the precise English equivalent would be super-realism (see super- 4a(b)).] surrealism A movement in art and literature seeking to express the subconscious mind by any of a number of different techniques, including the irrational juxtaposition of realistic images, the creation of mysterious symbols, and automatism (q.v., sense 5); art or literature produced by or reminiscent of this movement. The term surréalisme, coined by Guillaume Apollinaire (see quot. 1917), was taken over by the poet André Breton as the name of the movement, which he launched with his Manifeste du Surréalisme in 1924; his statement there of the term's meaning is given in quot. 1935. 1917: `G. Apollinaire' Notes to `Parade' in Table Ronde (1952) Sept. 45 “De cette alliance nouvelle, car jusqu'ici les décors et les costumes d'une part, la chorégraphie d'autre part, n'avaient entre eux qu'un lien factice, il este résulté, dans `Parade', une sorte de surréalisme.” 1927: C. Connolly Let. 21 Apr. in Romantic Friendship (1975) 294 “His [sc. Brueghel's] realism with people, `surrealisme' with places, is like Crabbe.” 1931: [see populism b]. 1934: C. Lambert Music Ho! ii. 78 “Surrealism may conveniently be defined as the free grouping together of incongruous and non-associated images.” 1935: D. Gascoyne tr. A. Breton in Short Survey Surrealism iv. 61 “Surrealism, pure psychic automatism, by which it is intended to express, verbally, in writing, or by other means, the real process of thought.” 1952: R. Bryden in Granta 29 Nov. 8/1 “Sometimes we find that neither subject suffers from juxtaposition, but that together they form a new kind of experience to Surrealism, which we rather admire.” 1970: Oxf. Compan. Art 1115/1 “Surrealism sought to explore the frontiers of experience and to broaden the logical and matter-of-fact view of reality by fusing it with instinctual, subconscious, and dream experience in order to achieve an absolute or `super' reality.” 1978: Amer. Scholar Summer 357 “It is clear, from what people say about contemporary surrealism.., that such poetry is supposed to be terribly mysterious, profound stuff.”

  Noise

D'`A$pK=[}|3W7TTAR,>q).-J+k#"i~21dc@>P=N)srqvutm3qpoQPlkd*Ka`_%F\[`_^W{[ZYX:Pta
Stochastic variations, perturbations in a signal, often obscuring or interfering with the clarity or intended information content.

interpolation: nil (no interpolation on this flavour. all other interpolation types have cadence for aleatoric speed), linear (point to point), catmull rom spline (exactly what one would expect from smooth curve interpolation), dan da dan (got the idea for this while watching the ダンダダン anime, if you know, you know)

aleatoric generator: baktun katun tun uinal kin wheel (OG aleatoric method I wrote back in grad school, delicious and satisfying), file source (requires loading one or more audio files which are used for output amplitudes, とてもおいしい!), strange attractor (iterative two dimensional chaotic fractal structure), plateau asymétrique (an idea for aleatoric asymmetry output), grammar semantics (another idea for asymmetric output, but based on language. 言霊)

L'arte dei rumori, 11 marzo 1913, Luigi Russolo, Milano. A Roma, nel Teatro Costanzi affollatissimo, mentre coi miei amici futuristi Marinetti, Boccioni, Carrà, Balla, Soffici, Papini, Cavacchioli, ascoltavo l'esecuzione orchestrale della tua travolgente Musica futurista.mi apparve alla mente una nuova arte che tu solo puoi creare: l'Arte dei Rumori, logica conseguenza delle tue meravigliose innovazioni. La vita antica fu tutta silenzio. Nel diciannovesirno secolo, coll'invenzione delle macchine, nacque il Rumore. Oggi, il Rumore trionfa e domina sovrano sulla sensibilità degli uomini. Per molti secoli la vita si svolse in silenzio, o, per lo più, in sordina. I rumori più forti che interrompevano questo silenzio non erano nè intensi, né prolungati, né variati. Poiché, se trascuriamo gli eccezionali movimenti tellurici, gli uragani, le tempeste, le valanghe e le cascate, la natura e silenziosa.

In questa scarsità di rumori, i primi suoni che l'uomo poté trarre da una canna forata o da una corda tesa, stupirono come cose nuove e mirabili. Il suono fu dai popoli primitivi attribuito agli dèi, considerato come sacro e riservato ai sacerdoti, che se ne servirono per arricchire di mistero i loro riti. Nacque così la concezione del suono come cosa a sé, diversa e indipendente dalla vita, e ne risultò la musica, mondo fantastico sovrapposto al reale, mondo inviolabile e sacro. Si comprende facilmente come una simile concezione della musica dovesse necessariamente rallentarne il progresso, a paragone delle altre arti. I Greci stessi, con la loro teoria musicale matematicamente sistemata da Pitagora, e in base alla quale era ammesso soltanto l'uso di pochi intervalli consonanti, hanno molto limitato il campo della musica, rendendo così impossibile l'armonia, che ignoravano.

Il Medio Evo, con gli sviluppi e le modificazioni del sistema greco del tetracordo, col canto gregoriano e coi canti popolari, arricchì l'arte musicale, ma continuò a considerare il suono nel suo svolgersi nel tempo, concezione ristretta che durò per parecchi secoli e che ritroviamo ancora nelle più complicate polifonie dei contrappuntisti fiamminghi. Non esisteva l'accordo; lo sviluppo delle parti diverse non era subordinato all'accordo che queste parti potevano produrre nel loro insieme; la concezione, infine, di queste parti era orizzontale, non verticale. Il desiderio, la ricerca e il gusto per l'unione simultanea dei diversi suoni, cioè per l'accordo (suono complesso) si manifestarono gradatamente, passando dall'accordo perfetto assonante e con poche dissonanze di passaggio alle complicate e persistenti dissonanze che caratterizzano la musica contemporanea. L'arte musicale ricercò ed ottenne dapprima la purezza, la limpidezza e la dolcezza del suono, indi amalgamò suoni diversi, preoccupandosi però di accarezzare l'orecchio con soavi armonie. Oggi l'arte musicale, complicandosi sempre più, ricerca gli amalgami di suoni più dissonanti, più strani e più aspri per l'oreccbio. Ci avviciniamo così sempre più al suono-rumore.

Questa evoluzione delta musica è parallela al moltiplicarsi delle macchine, che collaborano dovunque coll'uomo. Non soltanto nelle atmosfere fragorose delle grandi città, ma anche nelle campagne, che furono fino a ieri normalmente silenziose, la macchina ha oggi creato tanta varietà e concorrenza di rumori, che il suono puro, nella sua esiguità e monotonia, non suscita più emozione. Per eccitare ed esaltare la nostra sensibilità, la musica andò sviluppandosi verso la più complessa polifonia e verso la maggior varietà di timbri o coloriti strumentali, ricercando le più complicate successioni di accordi dissonanti e preparando vagamente la creazione del rumore musicale. Questa evoluzione verso il "suono rumore" non era possibile prima d'ora. L'orecchio di un uomo del settecento non avrebbe potuto sopportare l'intensità disarmonica di certi accordi prodotti dalle nostre orecchie(triplicate nel numero degli esecutori rispetto a quelle di allora). Il nostro orecchio invece se ne compiace, poiché fu già educato dalla vita moderna, così prodiga di rumori svariati. Il nostro orecchio però se ne accontenta, e reclama più ampie emozioni acustiche. D'altra parte, il suono musicale è troppo limitato nella varietà qualitativa dei timbri. Le più complicate orchestre si riducono a quattro o cinque classi di strumenti ad arco, a pizzico, a fiato in metallo, a fiato in legno, a percussione. Cosicché la musica moderna si dibatte in questo piccolo cerchio, sforzandosi vanamente di creare nuove varietà di timbri. Bisogna rompere questo cerchio ristretto di suoni puri e conquistare la varietà infinita dei "suoni-rumori".

1300 Cursor M. 6535 He hard þe gret nois was þare Abute þis calf. 1330 R. Brunne Chron. Wace (Rolls) 11531 At þat word was noise & cry Of þe Bretons þat stoden ney. 1390 Gower Conf. III. 321 With this noise and with this cry, Out of a barge faste by..Men sterten out. 1400 Mandeville (Roxb.) xxxi. 138 Þer es herd noyse as it ware of trumppes. 1450 Fysshynge w. Angle (1883) 5 Þe noyse of houndes & blastes of hornes. 1455 Paston Lett. I. 351 They sette an hous on fyer.., and cryed and mad an noyse as though they had be sory for the fyer. 1481 Caxton Godfrey v. 23 Of the noyse that sourded emonge the hethen men discordyng in theyr lawe. 1484 Caxton Fables of Æsop ii. xii. 48 Oftyme it happeth that of a fewe wordes euyll fette, cometh a grete noyse and daunger. 1491 Vitas Patr. (W. de W. 1495) i. cxix. 141|1 Neuer to haue noyse with a nother it is angels lyfe. 1530 Palsgr. 248|1 Noyse, frayeng, castille. 1533 Ld. Berners Huon lix. 207 They all made great ioy with suche a ioyfull noyse that the paynyms without dyd here it. 1533 Ld. Berners Huon xxiii. 68 The water..made suche a noyse that it myght be herde .x. leges of. 1548 Hall Chron., Hen. VI 95 By the noyes of a spanyell was on a night a man espied and taken. 1560 J. Daus tr. Sleidane's Comm. 114b, She would be buried without any pompe or noyse. 1582 Lichefield tr. Castanheda's Conq. E. Ind. 73b, The tackling.., with the great force of the winde, made such a terrible noyse, and was so fearefull to heare. 1590 Shakes. Com. Err. iii. i. 61 Who is that at the doore yt keeps all this noise? 1614 Raleigh Hist. World ii. 508 After this time Ezechia had rest, and spending without noyse that addition which God had made unto his life. 1622 Mabbe tr. Aleman's Guzman d'Alf. ii. 42 It did mightily vexe me,..that I could not call vnto them to keepe lesse noise. 1624 Quarles Job xvii 54 Who ever heard the voyce Of th' angry heavens, unfrighted at the noyse? 1633 G. Herbert Temple, Redemption 12 At length I heard a ragged noise and mirth Of theeves and murderers. 1653 tr. Carmeni's Nissena 124 By the noise of Trumpets and beating up of Drums. 1662 J. Davies tr. Olearius' Voy. 110 They were married on Shrove-Sunday..but without any noyse. 1702 Rowe Tamerl. iv. i, Thou hast thy sexes Virtues, Their Affectation, Pride, Ill Nature, Noise. 1710 J. Clarke tr. Rohault's Nat. Philos. (1729) I. 185 Gunpowder when it takes Fire in a Cannon..makes such a prodigious Noise. 1774 Goldsm. Nat. Hist. (1776) I. 160 This motion continued the remaining part of the day..; nor did the noise cease during the whole time. 1848 L. Hunt Jar of Honey ii. 23 A noise is heard like the coming of a thousand chariots.

in girum imus nocte et consumimur igni