Russolo's 1913 Futurist manifesto established noise as a principled musical aesthetic

In 1913, Italian Futurist Luigi Russolo published the manifesto L’Arte dei Rumori (The Art of Noises), arguing that the industrial revolution had given modern people greater capacity to appreciate complex sounds. He found traditional melodic music confining and envisioned noise as its future replacement. He designed the intonarumori — purpose-built noise-generating devices — and assembled a noise orchestra. His 1917 Gran Concerto Futuristico met with audience violence, which he had predicted. Although his works bear little resemblance to contemporary noise music, his efforts helped to introduce noise as an intentional musical aesthetic and broaden the perception of unwanted sound as an artistic medium. The only surviving recording uses the intonarumori in Antonio Russolo’s Corale and Serenata (1921).

Examples

Works performed in 1914: Risveglio di una città (Awakening of a City) and Convegno d’aeroplani e d’automobili (Meeting of Aeroplanes and Automobiles). Russolo’s maxim: ‘We must break this restricted circle of pure sounds and conquer the infinite variety of noise-sounds.‘

Assessment

What is the significance of the intonarumori in noise music history? Why is Russolo considered foundational despite his works bearing little resemblance to contemporary noise music?