Editing Noise music (section)

===Found sound===
In the same period the utilisation of [[found sound]] as a musical resource was starting to be explored. An early example is ''Parade'', a performance produced at the Chatelet Theatre, Paris, on May 18, 1917, that was conceived by [[Jean Cocteau]], with design by [[Pablo Picasso]], choreography by [[Leonid Massine]], and music by [[Eric Satie]]. The extra-musical materials used in the production were referred to as ''trompe l'oreille'' sounds by Cocteau and included a [[dynamo]], [[Morse code]] machine, sirens, steam engine, airplane motor, and typewriters.<ref name="Chadabe 1996 p=23">{{harvnb|Chadabe|1996|p=23}}</ref> [[Arseny Avraamov]]'s composition ''Symphony of Factory Sirens'' involved navy ship sirens and whistles, bus and car horns, factory sirens, cannons, foghorns, artillery guns, machine guns, hydro-airplanes, a specially designed steam-whistle machine creating noisy renderings of ''[[Internationale]]'' and ''[[Marseillaise]]'' for a piece conducted by a team using flags and pistols when performed in the city of [[Baku]] in 1922.<ref>{{Cite web |url=http://sonification.eu/avraamov |author-link=Martin John Callanan (artist) |first=Martin John |last=Callanan |title=Sonification of You |access-date=2020-07-24 |archive-date=2008-12-05 |archive-url=https://web.archive.org/web/20081205002508/http://sonification.eu/avraamov |url-status=bot: unknown }}</ref> In 1923, [[Arthur Honegger]] created ''[[Pacific 231]]'', a [[modernist]] musical composition that imitates the sound of a steam locomotive.<ref>[[Daniel Albright|Albright, Daniel]] (ed.) ''Modernism and Music: An Anthology of Source''. Chicago: University Of Chicago Press, 2004. p. 386</ref> Another example is [[Ottorino Respighi]]'s 1924 orchestral piece ''[[Pines of Rome]]'', which included the [[phonographic]] playback of a nightingale recording.<ref name="Chadabe 1996 p=23"/> Also in 1924, [[George Antheil]] created a work titled [[Ballet Mécanique]] with instrumentation that included 16 [[player piano|pianos]], 3 [[propeller|airplane propellers]], and 7 [[electric bell]]s. The work was originally conceived as music for the [[Dada]] film of the same name, by [[Dudley Murphy]] and [[Fernand Léger]], but in 1926 it premiered independently as a concert piece.<ref>{{Cite web |title=About the Ballet Mécanique |url=http://www.antheil.org/balletmec.html |archive-url=https://web.archive.org/web/20150509025902fw_/http://www.antheil.org/balletmec.html |url-status=dead |archive-date=2015-05-09 }}</ref><ref name="Chadabe 1996 pp=23-24">{{harvnb|Chadabe|1996|pp=23–24}}</ref>

In 1930 [[Paul Hindemith]] and [[Ernst Toch]] recycled records to create sound montages and in 1936 [[Edgard Varèse]] experimented with records, playing them backwards, and at varying speeds.<ref>UbuWeb Papers ''A Brief history of Anti-Records and Conceptual Records'' by Ron Rice.</ref> Varese had earlier used sirens to create what he called a "continuous flowing curve" of sound that he could not achieve with acoustic instruments. In 1931, Varese's ''[[Ionisation (Varese)|Ionisation]]'' for 13 players featured 2 sirens, a [[lion's roar (instrument)|lion's roar]], and used 37 percussion instruments to create a repertoire of unpitched sounds making it the first musical work to be organized solely on the basis of noise.<ref name="Chadabe 1996 p=59">{{harvnb|Chadabe|1996|p=59}}</ref><ref name="Nyman 1974 p=44">{{harvnb|Nyman|1974|p=44}}</ref> In remarking on Varese's contributions the American composer [[John Cage]] stated that Varese had "established the present nature of music" and that he had "moved into the field of sound itself while others were still discriminating 'musical tones' from noises".<ref name="Chadabe 1996 p=58">{{harvnb|Chadabe|1996|p=58}}</ref>

In an essay written in 1937, Cage expressed an interest in using extra-musical materials<ref name="Griffiths 1995 p=27">{{harvnb|Griffiths|1995|p=27}}</ref> and came to distinguish between found sounds, which he called noise, and musical sounds, examples of which included: rain, static between radio channels, and "a truck at fifty miles per hour". Essentially, Cage made no distinction, in his view all sounds have the potential to be used creatively. His aim was to capture and control elements of the sonic environment and employ a method of sound organisation, a term borrowed from Varese, to bring meaning to the sound materials.<ref name="Chadabe 1996 p=26">{{harvnb|Chadabe|1996|p=26}}</ref> Cage began in 1939 to create a series of works that explored his stated aims, the first being ''[[Imaginary Landscape|Imaginary Landscape #1]]'' for instruments including two variable speed turntables with frequency recordings.<ref name="Griffiths 1995 p=20">{{harvnb|Griffiths|1995|p=20}}</ref>

In 1961, [[James Tenney]] composed ''Analogue #1: Noise Study'' (for tape) using computer synthesized noise and ''Collage No.1 (Blue Suede)'' (for tape) by sampling and manipulating a famous [[Elvis Presley]] recording.<ref name="doornbusch.net">{{Cite web |first=Paul |last=Doornbusch |title=A Chronology / History of Electronic and Computer Music and Related Events 1906–2011 |url=http://www.doornbusch.net/chronology/|archive-url=https://web.archive.org/web/20200818111237/http://www.doornbusch.net/chronology/ |archive-date=2020-08-18 }}</ref>