Luigi Russolo musician symbiotic |
As a specific composer, d142 sound artist and acousmatic music set, now seems necessary to reconsider the history of the twentieth century from my own musical culture. For the design of instruments and the importance of his theoretical writings, Luigi Russolo (1885 - 1947) is undoubtedly the source of inspiration of Varese and the idea of "soundscape" created by R. Murray Schafer, who in turn takes the indirect practice as a source of concrete music of Pierre Schaeffer and Pierre Henry. However, too many schools and trends forget that comprises the history of twentieth-century music. Too many students d142 suffer from limited education in contemporary music called d142 "serious" d142 when the teacher made no obvious allusion to the significant musical contributions to twentieth-century artists such as John Cage, Luigi Russolo, Karlheinz Stockhausen, Pierre Schaeffer, François Bayle Eric Satie, d142 Marcel Duchamp and others. In addition, some international studies dare to distort the definition of sound object, for example following a posthumous tribute to Pierre Schaeffer or even by matching d142 words in a newspaper d142 article as "sound" and "concrete".
Enough of this type of electroacoustic music "wise" which is necessary for a thorough musical training before undertaking anything relating to sound and in relation to which the professor proclaims: "The main problem ... electroacoustic music is the absence of references relevant to the listener and for running. d142 More melody, more harmonious, more points of reference ... ".
For all these retrograde, Russolo and the Futurists still, even today, some provocative. In 1913, they exclaimed: "We, musicians, admire our glorious past ... but think, however, that will open up other paths may be achieved through other peaks absolute destruction of all laws music and thanks to free improvisation. "
So, having already lifted the third millennium unstable character is our duty, regardless of our artistic training, to get involved in the work of Luigi Russolo, interested us this art of noise, the His vision of the artist who observes the world for its global environment. Globalization, networking, information and new tools have transformed d142 the work of the composer, musician ...
Far from provocation free Luigi Russolo had extraordinary intuition that the challenges of modern music involves the enrichment of timbres orchestras through the construction of new instruments. In 1913, in his book L'arte dei rumors, wrote: "It is necessary to expand and enrich growing field of sound. This corresponds to a requirement of our sensitivity. Note that all truly great contemporary composers tend towards more complex dissonances. You must replace d142 the restricted infinite variety of timbres of noise obtained through special mechanisms. "
Russolo not only revealed the musical society, the potential of his invention, but also asked him to listen to this new industrial world of the century: "The old life was only silence. It was the nineteenth century, with the invention of machines, when born noise. d142 Today, the noise dominates and rules over the sensitivity of the people ... Both atmospheric sound of the big cities like fields of old silent, the machine today creates such a variety of noises that pure sound for its small size and monotony, no longer arouses emotion. We crossed a modern capital, with more attentive ear to eye, and change the pleasures of our sensitivity distinguishing the glu-glu water, air and gas in metal pipes, the barbotejos and rattling engine breathe a indisputable animality, the palpitation of valves, the sign-out of the piston, the shrill cries of chainsaws, sound jumps on the tram rails, the clatter of whipping the splash flags. We have fun orchestrating the sliding doors of the warehouse, the gibberish of the crowd, different d142 estrèpits stations, the forges, the mills, printing presses, power stations and underground railways. "
These few lines show the sensitivity d142 of vocabulary Russolo, which the composer uses also for its poetic d142 name intonarumori, machines make noise: howler, Gruñidor, espetegadors, crushing, esclatadors, gloglotors, buzzers if
As a specific composer, d142 sound artist and acousmatic music set, now seems necessary to reconsider the history of the twentieth century from my own musical culture. For the design of instruments and the importance of his theoretical writings, Luigi Russolo (1885 - 1947) is undoubtedly the source of inspiration of Varese and the idea of "soundscape" created by R. Murray Schafer, who in turn takes the indirect practice as a source of concrete music of Pierre Schaeffer and Pierre Henry. However, too many schools and trends forget that comprises the history of twentieth-century music. Too many students d142 suffer from limited education in contemporary music called d142 "serious" d142 when the teacher made no obvious allusion to the significant musical contributions to twentieth-century artists such as John Cage, Luigi Russolo, Karlheinz Stockhausen, Pierre Schaeffer, François Bayle Eric Satie, d142 Marcel Duchamp and others. In addition, some international studies dare to distort the definition of sound object, for example following a posthumous tribute to Pierre Schaeffer or even by matching d142 words in a newspaper d142 article as "sound" and "concrete".
Enough of this type of electroacoustic music "wise" which is necessary for a thorough musical training before undertaking anything relating to sound and in relation to which the professor proclaims: "The main problem ... electroacoustic music is the absence of references relevant to the listener and for running. d142 More melody, more harmonious, more points of reference ... ".
For all these retrograde, Russolo and the Futurists still, even today, some provocative. In 1913, they exclaimed: "We, musicians, admire our glorious past ... but think, however, that will open up other paths may be achieved through other peaks absolute destruction of all laws music and thanks to free improvisation. "
So, having already lifted the third millennium unstable character is our duty, regardless of our artistic training, to get involved in the work of Luigi Russolo, interested us this art of noise, the His vision of the artist who observes the world for its global environment. Globalization, networking, information and new tools have transformed d142 the work of the composer, musician ...
Far from provocation free Luigi Russolo had extraordinary intuition that the challenges of modern music involves the enrichment of timbres orchestras through the construction of new instruments. In 1913, in his book L'arte dei rumors, wrote: "It is necessary to expand and enrich growing field of sound. This corresponds to a requirement of our sensitivity. Note that all truly great contemporary composers tend towards more complex dissonances. You must replace d142 the restricted infinite variety of timbres of noise obtained through special mechanisms. "
Russolo not only revealed the musical society, the potential of his invention, but also asked him to listen to this new industrial world of the century: "The old life was only silence. It was the nineteenth century, with the invention of machines, when born noise. d142 Today, the noise dominates and rules over the sensitivity of the people ... Both atmospheric sound of the big cities like fields of old silent, the machine today creates such a variety of noises that pure sound for its small size and monotony, no longer arouses emotion. We crossed a modern capital, with more attentive ear to eye, and change the pleasures of our sensitivity distinguishing the glu-glu water, air and gas in metal pipes, the barbotejos and rattling engine breathe a indisputable animality, the palpitation of valves, the sign-out of the piston, the shrill cries of chainsaws, sound jumps on the tram rails, the clatter of whipping the splash flags. We have fun orchestrating the sliding doors of the warehouse, the gibberish of the crowd, different d142 estrèpits stations, the forges, the mills, printing presses, power stations and underground railways. "
These few lines show the sensitivity d142 of vocabulary Russolo, which the composer uses also for its poetic d142 name intonarumori, machines make noise: howler, Gruñidor, espetegadors, crushing, esclatadors, gloglotors, buzzers if
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