on the accelerated speed made possible by industrialised noise (which humans, by themselves, cannot achieve), and pieces of music began to be broken up.

The slow rhythm and tonality associated to total sound were weakened in this situation. At the same time, as the 20th century advanced, the revolutionary nature of the West was not apparent and, along with that, the idea of its essence was weakened. Contrasting each other, on the one hand the model of active, free people and countries (which may be defined as renewed total essence); on the other hand, the reality of the passive, alienated mass, meek people who have only been transformed in order to consume \cite{Adorno_Horkheimer_1994}. Along with that, the ideal of the progress of Modernity has also been wounded. Total works of art—works of art which are profound, critical, which go down to the roots of the age, expressions of collective and individual reflection on people's place in the world and (self) reflections on the historical situation—will have difficulty in resisting the oncoming devastation.

Starting with the destruction of the First World War, throughout the 20th century the lineal upwards evolution of modern ideal has been broken, and this has had direct influence on artistic expression \cite{Hobsbawm_2003}. This meant that the heroic tonality and slow, gradual, progressive, complete rhythm of music (which follow the model of the Heroic Symphony) had no chance of surviving in the wounded, broken-up and accelerated world of the future. The accelerated industrial noise model is part of the modern ideal, with the distinguishing characteristics which the Italian futurists saw in it and used expressively. The superficial anti-essence with no depth in terms of expression, and connected with the acceleration of the rotation of capital, has yet to arrive; this configuration will arrive when general social time accelerates and is split up and, consequently, it will have a direct impact on expressiveness in works of art and music. In this context, a distinguishing characteristic of the 20th century can be examined: are changes taking place in a social time which are so fast that they can hardly be digested? Are individuals' sensual and self-conscious experiences taking place in a period which is overflowing? Can total art (total sound) be produced in this context? These reflections and doubts lead us to our second premise.

\section{2. The sound of noise}

Theoreticians of totalitarianism have argued the need to forbid subversive noise because it emphasises the need for cultural autonomy and promotes differences; an interest in maintaining tonalities, the prevalence of melody and distrust of new languages, codes and instruments is common to all regimes of this nature \cite{Leonidas_Martin_Saura_2006}.

2nd Premise: If total sound is imposed in an era in which total essence (revolutionary total action) is not imposed, this may lead us to totalitarianism. Together with the criticism and rupture of lineal, progressive modernity, harmony becomes noise. The acceleration of capitalism brings the sound of noise (fractured works of art) with it, along with expressiveness which is able to express its contradictions. The words we say are also accelerating.

Modernity itself brought a contradiction with it, the position of popular culture:

The Enlightenment believes that the people who must be appealed to in order to legitimise a secular, democratic government are also the bearers of that which reason wishes to abolish: superstition, ignorance and turmoil. Because of this, in Mart\'in Barbero's words, a complex system has been developed 'with abstract inclusion and specific exclusion'. The people are of interest in order to legitimise bourgeois hegemony, but are irritating because of their lack of culture \cite{Garcia_Canclini_2001}.

High culture and popular culture. Modernity introduced this dichotomy. High culture is the only one which is considered to be culture, the only legitimate culture. Culture was an area for dividing classes. In Europe, in particular, this mechanism has long been in place \cite{Bourdieu_1999}. In the world of music, classical music and tonality are the paradigm of art music.