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Сообщение от Cyril Syzran

A great opportunity. Of course. I understand this - samples, and even cyclic.
But where is the musical revolution?

From an article about industrial style.

The idea of ​​using sound as a musical element has its origins in the Italian futurist manifesto Luigi Russolo (Luigi Russolo) «The Art of Noise," published in 1913. By itself, the manifesto of the artist was inspired by the work of Russolo Futurist composer Balilla Pratella (Balilla Pratella), whose "Technical Manifesto of Futurist Music" (1911) contained the following sentence: "[Music] shall transmit the spirit of the masses of huge industrial complexes, trains, ocean aircraft, military fleets of cars and airplanes. All this should add to the great central theme of the poem the area of ​​machinery and winning the sphere of electricity. " Pratella own music was much more conservative than you might think of him. Even a few years before Pratella more famous classical composers began to talk about the development of music.
In 1907, Ferruccio Buson (Ferruccio Busoni) wrote in the "Outline of a new musical aesthetics": "In what direction should be sent to the next step? to abstract sound, free equipment and unlimited tonal material ». Buson also did not follow this next step, but it did Schoenberg, Ives and Cowell (Cowell), from 1907 to 1919 to experiment with music, which by growing rapidly develops into atonality dissonance, as well as (in the case of Cowell) with ways to use old methods tools.
Separately, we must mention, and Alexander Scriabin, who tried in the 20s to create their own music system and experimenting with the interaction of sound and light. Industrial musicians, by the way, give him a debt of respect - Genesis Pee Orridzh, for example, at different times, recorded two large-size items, one of which was used musical principles formulated by Scriabin («Mouth of the knight»), while the other was devoted to its memory («Scriabianism »).

The massive use of this approach became possible after the so-called the figures.