The Liberation of Sound

Abstract

W H E N new instruments will allow me to write music as I conceive it, taking the place of the linear counterpoint, the movement of soundmasses, of shifting planes, will be clearly perceived. When these sound-masses collide the phenomena of penetration or repulsion will seem to occur. Certain transmutations taking place on certain planes will seem to be projected onto other planes, moving at different speeds and at different angles. There will no longer be the old conception of melody or interplay of melodies. The entire work will be a melodic totality. The entire work will flow as a river flows. Today with the technical means that exist and are easily adaptable, the differentiation of the various masses and different planes as well as these beams of sound, could be made discernible to the listener by means of certain acoustical arrangements. Moreover, such an acoustical arrangement would permit the delimitation of what I call Zones of Intensities. These zones would be differentiated by various timbres or colors and different loudnesses. Through such a physical process these zones would appear of different colors and of different magnitude in