References Luigi Russolo 30 April — 6 February was an Italian Futurist painter, composer, builder of experimental musical instruments, and the author of the manifesto The Art of Noises He is often regarded as one of the first noise music experimental composers with his performances of noise music concerts in —14 and then again after World War I, notably in Paris in He designed and constructed a number of noise-generating devices called Intonarumori. Luigi Russolo was perhaps the first noise artist. Russolo found traditional melodic music confining, and he envisioned noise music as its future replacement. Russolo designed and constructed a number of noise-generating devices called Intonarumori, and assembled a noise orchestra to perform with them.
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Some, but probably not the majority? Russolo: "We must replace the limited variety of timbres of orchestral instruments by the infinite variety of timbres of noises obtained through special mechanisms. A really nice collection of manifestos and essays by the Italian Futurists who see sound, noise, and yes music as an important art form that matches up with the visual arts. The need to destroy the past to make way for the Present or future is a very enticing idea.
Yet, the Italian branch are very much aware of its past, so the tension between the new and its history is pretty exciting. Ah, the shock of the now as it happened! Essential reading for us explorers. Noise is familiar to us. Noise has the power to bring us back to life.
On the other hand, sound, foreign to life, always a musical, outside thing, an occasional element, has come to strike our ears no more than an overly familiar face does our eye.
Noise, gushing confusely and irregularly out of life, is never totally revealed to us and it keeps in store innumerable surprises for our benefit. We feel certain that in selecting and coordinating "Noise accompanies every manifestation of our life. We feel certain that in selecting and coordinating all noises we will enrich men with a voluptuousness they did not suspect.
The Art of Noise (futurist manifesto, 1913)
While crass and obnoxious, his outbursts were pretty much the most fun one could have in a politically-torn Italy. He was always met with a torrent of follow-up invitations the following morning, accompanied by locks of hair if the outburst was memorable enough. His paintings often distort physical reality to show just how eerie life in this new world was. One needs to look no further than his paintings to get a sense of this—abstract shapes jet out of skyscrapers; proto-freeways stretch far into the canvas as if pulling us towards an asymptotic horizon. There are no flying cars, androids, or blinking lights in this future.
Luigi Russolo’s Futurist Manifesto The Art of Noises, Revisited
Before this time the world was a quiet, if not silent, place. With the exception of storms , waterfalls , and tectonic activity, the noise that did punctuate this silence were not loud, prolonged, or varied. Early sounds[ edit ] He notes that the earliest " music " was very simplistic and was created with very simple instruments, and that many early civilizations considered the secrets of music sacred and reserved it for rites and rituals. The Greek musical theory was based on the tetrachord mathematics of Pythagoras , which did not allow for any harmonies. Developments and modifications to the Greek musical system were made during the Middle Ages , which led to music like Gregorian chant. Russolo notes that during this time sounds were still narrowly seen as "unfolding in time.