History of art- The Search for new timbres system

              By the early years of 20th century, composers had begun to explore a new possibility: that conventional instruments were capable of producing unconventional sounds.
             On the spring evening in 1913, Lgor Stravinsky's music for the ballet The Rite of Spring provoked the most famous riot in musical history. The sedate Parisian audience was scandalized not only by a bombardment of massive orchestral discords, by strange new instruments timbres. A solo bassoon (traditionally a bass instruments) played at very top of its range, producing eerie, unheard of sounds.  vast array of deep drums pounded out jagged rhythms , a sound associated with with tribal ritual not the concert hall stringed instruments swept through glassy, odd colored waves of high pitched harmonics.
            In his string quartets, Bels Bartok laced his mouth with slides, snapped strings and rhythms played with the wooden part of the bow.
            Henry Cowells's piano pieces, written in the 1920's, defined new key board which called sonorities (a group of notes which known "tone" "clusters" and chord which played by the pianist's arm's). Henry try to find out new sound which tune directly by piano strings.
             Jhon Cage probed deeper into innards of the piano by the  by interesting metal, wooden and rubber objects between the strings, the sonorities is akin to the soft, muted gong-and -drum gamelan ensembles of Indonesia.

             Edgard Vareses Ionisation (1933) dealt with timbers alone ( pitch and rhythm were secondary; harmony, in the conventional sense, was non existent). he use the bells and sirens, chains and anvils, together which piano and percussion, the the unconventional musical resources of sound making, tradition was overturned, and any sound was legitimate source of music.