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Cargando... The Art of Noise: Destruction of Music By Futurist Machines (1962)por Luigi Russolo
   Ninguno Actualmente no hay Conversaciones sobre este libro.  petervanbeveren | May 27, 2024 |   "We must replace the limited variety of timbres of orchestral instruments by the infinite variety of timbres of noises obtained through special mechanisms. "The musician's sensibility, once he is rid of facile, traditional rhythms, will find in the domain of noises the means of development and renewal, an easy task, since each noise offers us the union of the most diverse rhythms as well as its dominant one." Alas, what little I've been able to hear of the concerts that such theory generated wasn't necessarily that exciting in contrast to what's developed since, but, HEY!, it's the thought that countdowns. (  ) tENTATIVELY | Apr 3, 2022 | sin reseñas | añadir una reseña
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The slim volume of essays, presented here for the first time in English translation, is one of the significant documents of musical aesthetics of this century. If the book itself has remained the province of a mere handful of readers, its ideas, passed on through a variety of later musical and literary movements, became the inspiration for some of the most innovative artistic creations of modern times. Luigi Russolo anticipated-indeed, he may have precipitated-a whole range of musical and aesthetic notions that formed the basis of much of the avant-garde thought of the past several decades. His ideas were absorbed, modified, and eventually transmitted to later generations by a number of movements and individuals-among them the futurists, the Dadaists, and a number of composers and writers of the nineteen-twenties. The noise instruments he invented fascinated and infuriated his contemporaries, and he was among the earliest musicians to put the often-discussed microtone to regular practical use in Western music. Russolo's views looked forward to the time when composers would exercise an absolute choice and control of the sounds that their music employed. He was the precursor of electronic music before electronics had come of age. No se han encontrado descripciones de biblioteca. |
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 Google Books — Cargando...GénerosSistema Decimal Melvil (DDC)789.9The arts Music Composers or Types of music Non Western Classical musicClasificación de la Biblioteca del CongresoValoraciónPromedio: (3.96)
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Published by Something Else Press between 1965 and 1967, the Great Bear Pamphlet series was envisioned by founding editor Dick Higgins as a “poor man’s keys to the new art,” or a means of exposing the most vital work of the time to a mass-market audience, and vice versa. The series made uncompromisingly radical work maximally accessible, with slim, chapbook-like publications of a mostly uniform, pared down design. Taken together, the pamphlets constitute a firsthand survey of the sixties avant-garde (Higgins, Barbara Moore, and Emmett Williams all had a hand in the editorial process) that is both sweeping and utterly unique, transmitting a still-vibrant signal of expanded possibility in art, music, and poetry.
The Great Bears epitomize the utopian vision of Higgins and Something Else.