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	Peggy Guggenheim Collection - Artists - Luigi Russolo (1885-1947) (Site not responding. Last check: 2007-10-22)
		Luigi Russolo was born in Portogruaro (Veneto) in 1885.
		Russolo started to contribute to the magazine Lacerba, where in 1914 he published his Grafia enarmonica per gl'intonarumori (Enharmonic Notation for Futurist Intonarumori), which introduced a new and influential form of musical notation.
		Russolo died at Cerro di Lavenio in 1947.
	www.guggenheim-venice.it /english/06_artists/russolo.htm (512 words)

	Encyclopedia: Luigi Russolo
		Luigi Russolo (1885 Portogruaro (Veneto) - 1947 Cerro di Lavenio) was an Italian futurist painter composer and the author of Art of Noises (1913) and Musica Futurista.
		As indicated by the former title, he believed in and sought the use of noise in and as music, and even invented and built instruments: intonarumori ("intoners" or "noise machines"), mostly percussion, to create "noises" for performance.
		Antonio Russolo was a Futurist composer and brother of Luigi Russolo.
	www.nationmaster.com /encyclopedia/Luigi-Russolo (372 words)

	Noise music - Wikipedia, the free encyclopedia
		Luigi Russolo, a futurist painter of the very early 20th century, was perhaps the first Noise Musician.
		Although Russolo's works bear little resemblance to modern Noise Music, his pioneering creations cannot be overlooked as an essential stage in the evolution of this genre, and many artists are familiar with his manifesto.
		Beginning in the 1920s, composers (in particular Edgard Varèse and George Antheil) began to use early mechanical musical instruments--such as the player piano and the siren--to create music that referenced the noise of the modern world.
	en.wikipedia.org /wiki/Noise_music (1321 words)

	Guardian \| Techno: the early years (Site not responding. Last check: 2007-10-22)
		When he wrote The Art of Noises, Russolo was 28 and a follower of the futurist leader Filippo Marinetti, who had used the term "futurist" for the way it suggested forward motion and speed.
		Russolo and colleagues built new types of instruments to try to capture the noises he was hearing in his head.
		Russolo appreciated that music was as much chaos as order, it was a mix of outer space and inner space, and it was about breaking rules more than following them.
	www.guardian.co.uk /print/0,3858,4468347-110760,00.html (1233 words)

	sinewaves - luigi russolo (Site not responding. Last check: 2007-10-22)
		Russolo's attempts to put the Futurists theories on music and art into practice brought about some of the most extraordinary musical experiments in pre-war Europe: the noise intoners or "intonorumori" "Ancient life was all silence.
		Russolo and his assistant Piatti worked away perfecting them ready for their first full scale concert in 1914.
		Russolo sustained serious head injuries during the war and after a long convalescence left Italy and moved to Paris where he carried out subsequent elaboration's on the Noise Machines.
	www.sinewaves.it /russolo.htm (440 words)

	[No title]
		Russolo answered his critics in a series of articles in the magazine Lacerba, and at the same time explained the mechanics of the intonarumori: 'It was necessary for practical reasons that the noise intoner be as simple as possible, and this we succeeded in doing.
		Russolo recalled that 'the immense crowd were already in uproar half an hour before the performance', and that missiles were thrown throughout, the abuse supposedly led by 'pastist' music professors from the Royal Conservatory of Milan.
		Russolo was acquitted and gave a second performance in Genoa on 20 May, although the show was judged a failure after his original intonarumori performers were unable to attend, and replaced with untrained substitutes at the last minute.
	www.ltmpub.freeserve.co.uk /mfaoncat.html (3840 words)

	Luigi Russolo (Site not responding. Last check: 2007-10-22)
		The situation of Russolo as a musician is very different from that of Russolo as a painter and of the other principal Futurists: very little of his work has survived, because the original sound of his instruments, the only thing that is truly important, no longer exists.
		Russolo selected this latter principle, which continues to be popular in French folk music under the name "vielle", and also occurs in older, almost forgotten instruments, such as the "organistrum", the "lira organizzata" and (from Leonardo da Vinci) the "viola organista".
		Russolo and his assistant Ugo Piatti researched all the aspects that could be varied in order to obtain different timbres, sonorities and scales; for example.
	www.l-m-c.org.uk /texts/russolo.html (3290 words)

	Sound Opinions Message Board -> Talk for my class (Site not responding. Last check: 2007-10-22)
		Luigi Russolo was not a musician, he was a painter.
		Luigi was very proud of not having a musical tuition as he claimed that this meant that he was free of all bias in the field of music.
		Luigi’s manifesto was called ‘The Art Of Noises’ and in it, he proposed to utilise 6 different sections of noises in his orchestra.
	www.soundopinions.net /forum/index.php?showtopic=4658 (1597 words)

	Russolo and Futurism
		Russolo had served in the war as a motorcycle driver and been wounded.
		It was Russolo's belief that noise was the sound of music for the new century.
		Russolo caused musicians to take a look at their surroundings for inspiration.
	csunix1.lvc.edu /~snyder/em/russolo.html (547 words)

	Futurist Music
		Russolo's aim was to widen the accepted definition of music in much the same way as Futurist Marinetti's Words in freedom and Destruction of Syntax had challenged the traditional boundaries of literature.
		The Technical Manifesto inspired Russolo to the invention of a mechanical means of interpreting 'the musical soul of crowds, great industrial complexes, transatlantic liners, trains, tanks, automobiles and aeroplanes, the domination of the machine and the victorious reign of electricity".
		This was certainly carried out quite independently of anything Russolo had written, but it illustrates the complexity of both the aesthetics and the politics of those years in which a shared experimental enthusiasm could inspire tendencies which were later to emerge as political polarities.
	www.analogue.org /network/manifestmusic.htm (1194 words)

	Estorick Collection of Modern Italian Art (Site not responding. Last check: 2007-10-22)
		Russolo was born into a musical family, but decided to become a painter upon moving to Milan at the age of sixteen.
		Russolo spent an increasing amount of time in Paris during this decade, perfecting and inventing other instruments.
		Between 1931 and 1933 Russolo studied occult philosophy in Spain.
	www.estorickcollection.com /artist/luigi_russolo.aspx (184 words)

	[No title] (Site not responding. Last check: 2007-10-22)
		In Russolo's often quoted manifesto from 1913, \i l'arte di rumori\i0, Russolo proposed an Art of Noise to break through the limiting canvas which cultivated 'pure sounds' had placed on music.
		Edgar Varese was also very interested in Russolo's work and did a presentation of Russolo's new \i Rumorarmonio\i0 instrument in 1929.\fs24\par \fs28 Russolo later built four noise harmoniums which were keyboard instruments using a combination of features from his \i intonarumori\i0.
		Russolo also wanted to build what he called an \i enharmonic piano\i0 which was a kind of large mechanized prepared piano.
	www.cs.auc.dk /~martin/tekst/luigi.rtf (519 words)

	Luigi Russolo and The Art of Noise
		Russolo later built four noise harmoniums which were keyboard instruments using a combination of features from his intonarumori.
		Russolo also wanted to build what he called an enharmonic piano which was a kind of large mechanized prepared piano.
		Russolo's manifestos on noise, can be found translated in English in The Art of Noises, translated from the Italian with an introduction by Barclay Brown (New York: Pendragon Press, Monographs in Musicology, no. 6, 1986).
	cotati.sjsu.edu /spoetry/folder6/ng632.html (642 words)

	Theremin Vox - Intonarumori (Site not responding. Last check: 2007-10-22)
		Luigi Russolo (left) and his assistant Ugo Piatti with their Intonarumori.
		The invention of the intonarumori was the natural outcome of Russolo's musical theories expounded in his 1913 manifesto L'arte dei rumori (The Art of Noise) in which he presented his ideas about the use of noises in music.
		Enharmonic notation for intonarumori by Luigi Russolo ("Risveglio di una città").
	www.thereminvox.com /article/articleview/116 (410 words)

	Industrial Prehistory: Anti-Music
		Russolo's instruments have long since been destroyed, and his music can now only be heard in rare reconstructions, but his importance lies more in his ideas than in the tiny influence that he actually had on other composers and musicians.
		Not only had Russolo set out ideas that would resurface in previously unimaginable areas of twentieth century music, but in his words about the "confusion" inherent in noise, he anticipated an idea of central importance to any aesthetic theory of noise music.
		Russolo's noise instruments, for all their potency in their day, sound nowadays like mere sound-effects machines, and strangely subdued ones at that.
	media.hyperreal.org /zines/est/articles/prehist5.html (2668 words)

	Luigi Russolo's 'Intonarumori'
		Luigi Russolo, Marinetti and Piatti with the Intonorumori machines (c1914).
		The instruments and music created by the Futurist painter/musician Luigi Russollo although not electronic played a revolutionary role in the incorporation of noise and environmental sound into modern music and were a primary source of inspiration for many composers including Edgard Varèse, John Cage and Pierre Schaefer amongst others.
		In 1914 Russolo and Marinetti gave 12 performances of the "Intonorumori" at the London Coliseum, the performances were, apparently, warmly applauded and Marinetti claimed that 30,000 people had witnessed the music of the future.
	www.keyboardmuseum.org /pre60/1900/intonor.html (625 words)

	FUTURISM AND THE FUTURISTS - by Bob Osborn (Site not responding. Last check: 2007-10-22)
		A painter, not a musician, Russolo was committed to being the movement's musical activist.
		Russolo had a vision in which "every factory will be transformed into an intoxicating orchestra of noises".
		Russolo's last experimental noise instrument, the Enharmonic Piano, comprised of a series of piano strings that vibrated when played, was created in 1931.
	www.futurism.org.uk /music.htm (806 words)

	Sound and Digital Media (Site not responding. Last check: 2007-10-22)
		Luigi Russolo's (1885-1947) "Art of Noise" is perhaps the first formal celebration of noise ("non-musical sound").
		Russolo extended his manifesto by embarking on a series of inventions that were intended to realise his vision of a music of noises.
		Russolo has been an important influence for artists and composers in and out of the Futurist aesthetic.
	cezanne.caad.ed.ac.uk /msc/intro8 (1879 words)

	Guardian \| The noise of art (Site not responding. Last check: 2007-10-22)
		Colour was as important as force to the movement, and it was a search for new sound colours that fired the ambitions of artist and instrument builder Luigi Russolo, who, though quieter than Marinetti, is now seen as the "father of noise".
		Russolo's work and ideas anticipated the shape of music to come: the early percussion scores of Edgard Varèse and John Cage; electroacoustic music; recording; graphic scores - not to mention the inevitable sonic onslaught of effects and sound design in movies, TV and computer games.
		Russolo was the first in a long line of visual artists who have sought to paint with sound.
	www.guardian.co.uk /print/0,3858,4081848-103408,00.html (734 words)

	LUIGI RUSSOLO
		Russolo wrote, “We must break out of this narrow circle of pure musical sounds and conquer the infinite variety of noise sounds.” He cited the “throbbing of valves,” “the pounding of pistons” and “the clatter of streetcars” as essential sonic components of any music that seeks to be relevant in modern times.
		Russolo's first performances met literally with violent responses, but a series of concerts at London's Coliseum in 1914 earned him the admiration of composers such as Igor Stravinsky and Sergey Prokofiev.
		In the bigger picture, though, it's easy to characterize Russolo as the first man to make industrial music and to recognize how a world filled with noise was going to forever change the way you hear and, ultimately, the way you make music.
	remixmag.com /mag/remix_luigi_russolo/index.html (479 words)

	Search Results (Site not responding. Last check: 2007-10-22)
		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.
		Russolo's views looked forward to the time when composers would exercise an absolute choice and control of the sounds that their music employed.
	www.pendragonpress.com /cgi-bin/bl.cgi?isbn=0-918728-57-6 (268 words)

	Futurism Music Web Links (Site not responding. Last check: 2007-10-22)
		Luigi Russolo's 'Intonarumori' - Introduction to Russolo's noise-making instruments from 1913.
		Russolo and Futurism - Another introduction to Russolo and futurism.
		Luigi Russolo and The Art of Noise - Short article on the history of Russolo.
	www.searchmusicnetwork.com /Styles_Experimental_Futurism.html (1770 words)

	Italian Futurist Books (Site not responding. Last check: 2007-10-22)
		Luigi Russolo, L'Arte dei rumori (The Art of Noise), 1916.
		Russolo had a particular experimental tendency as a result of his admiration for the "mechanical nature of a modern metropolis." Thus he invented the intona-rumori (noise-maker) in order to not only imitate the variety of noises of the city, but also to file them into musical families.
		To give shape to his theories, Russolo (with the help of Ugo Piatti) built some of these noise-maker machines and performed many noise-concerts in Italy and abroad, stirring up not only riots, but also newspaper critics' disapproval.
	colophon.com /gallery/futurism/23.html (172 words)

	Art of Noise (Site not responding. Last check: 2007-10-22)
		Luigi Russolo was a painter determined to open our ears to the noise of the modern age.
		His musical vision embraced "the coming and going of pistons, the howl of mechanical saws, the jilting of a tram on its rails" – the symphonic blending of sounds that defined life in the urban metropolis of the early 1900s.
		Russolo wrote his manifesto in 1913 entitled "The Art of Noise," a bold treatise declaiming the end of conventional Western music, and the dawning of a new music based on the grinding, exploding, crackling and buzzing of mechanical instruments.
	www.zakros.com /mica/soundart/f02/futurist.html (218 words)

	dpwolf/blog » 2004 » June (Site not responding. Last check: 2007-10-22)
		While the creation or recreation of a large scale alternate reality is not the aim of my work, I believe that this genre gives us a great example of what is possible when the complete spectrum of ‘digital noises’; is embraced and its various manifestations combined.
		Digital noise machines which form part of a larger network of computers and signals must be designed as cybertexts which take advantage of their location.
		Just as Russolo preferred the sounds of everyday life, it could be argued that low-fi, glitchy, digital samples represent and reference our daily digital lives.
	hypertext.rmit.edu.au /~dpwolf/blog/2004/06 (1544 words)

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