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Gotowe bibliografie tematyczne / Intonarumori

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Gotowa bibliografia na temat „Intonarumori”

Autor: Grafiati

Data publikacji: 3 czerwca 2025

Data aktualizacji: 31 lipca 2025

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Artykuły w czasopismach na temat "Intonarumori"

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Joseph, Nechvatal. "Opening Performance Orchestra's Noise of Art." Pulse: the Journal of Science and Culture 9 (June 5, 2022): 10. https://doi.org/10.5281/zenodo.10547319.

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This historical review of the intonarumori noise music machines of Futuristpainter/composer Luigi Russolo, along with a chronicle of known recordings of theintonarumori, contextualizes the Czech ensemble Opening Performance Orchestra’srecording: The Noise Of Art: Works for Intonarumori.

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Serafin, Stefania. "Acoustics of the Intonarumori." Journal of the Acoustical Society of America 117, no. 4 (2005): 2416. http://dx.doi.org/10.1121/1.4786353.

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Chessa, Luciano. "L'Arte dei “Romori”: Leonardine Devotion in Luigi Russolo's Oeuvre." Leonardo 41, no. 1 (2008): 43–48. http://dx.doi.org/10.1162/leon.2008.41.1.43.

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The author has discerned a deep interest in the occult arts at the core of Luigi Russolo's Art of Noises. Such an interest is confirmed by Russolo's admiration for Leonardo da Vinci. Leonardo's writings on music and acoustics constituted in fact a scientific and spiritual paradigm for Russolo; the former's mechanical musical-instrument projects were important models for Russolo's own, from 1913's intonarumori to the nuovo istrumento musicale a corde of 1931. Perhaps because of the futurists' ambivalent position toward the figure of Leonardo (proto-futurist or passatista), Russolo profusely quo

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Serafin, Stefania, and Amalia de Götzen. "An Enactive Approach to the Preservation of Musical Instruments Reconstructing Russolo's Intonarumori." Journal of New Music Research 38, no. 3 (2009): 231–39. http://dx.doi.org/10.1080/09298210903161013.

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Louria Hayon, Adi. "Sonorous Touches: Listening to Jean-Luc Nancy’s Transimmanent Rhythms." Arts 12, no. 5 (2023): 209. http://dx.doi.org/10.3390/arts12050209.

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Luigi Russolo’s Intonarumori together with his manifesto L’arte dei rumori (1913) marked a break with the art of clear signification. From here on, noise and dispersed sounds replaced the concept of music reverberating the harmony of the spheres by propelling the quandaries of immanence contingent on palpable resonance performing the differential relational manner of heterogeneous existence. This somatic turn is central to Jean-Luc Nancy’s Listening, where he proposes listening as a tangible fundamental resonance rumbling the corpse sonore. This paper elaborates on the move from the art of mus

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Venn, Edward. "RETHINKING RUSSOLO." Tempo 64, no. 251 (2010): 8–16. http://dx.doi.org/10.1017/s0040298210000021.

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One of the more telling indicators of Luigi Russolo's (1885–1947) Anglo-American reception is his description in Grove as an ‘Italian inventor, painter and composer’. Within this lurks the devaluation of his composing efforts in comparison to his work as the maker of intonarumori (noise instruments), his authoring of new aesthetic ideas, and his activities as a painter. There is little, perhaps, to argue with in this assessment, for (somewhat ironically) Russolo's music of the future has been consigned irrevocably to the music of the past; Raymond Fearn has suggested that ‘the musical remnants

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Williams, Gavin. "A Voice of the Crowd: Futurism and the Politics of Noise." 19th-Century Music 37, no. 2 (2013): 113–29. http://dx.doi.org/10.1525/ncm.2013.37.2.113.

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Abstract In his 1913 manifesto “L'arte dei rumori” (The Art of Noises), Futurist painter Luigi Russolo exhorted readers to “walk across a great modern metropolis with ears more attentive than eyes.” For Russolo, attentive listening to the urban environment enacted a visionary aurality: the city was a mine for “new” noises, such as rumbling motors and jolting trams. However, Russolo's embrace of noise—much like that of Futurist painter Umberto Boccioni and Futurist poet Filippo Tommaso Marinetti—was undeniably a product of its time and place. This article excavates the sounds of 1913 Milan as a

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Serafin, Stefania. "Russolo’s Intonarumori: Musical Innovation at the Beginning of the Twentieth Century." International Yearbook of Futurism Studies 2, no. 1 (2012). http://dx.doi.org/10.1515/futur-2012.0020.

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Russolo, Luigi, José Henrique Padovani, and Daniel Belquer. "A arte dos ruídos, manifesto futurista." Portfolio, Revista Digital da Escola de Artes Visuais do Parque Lage, no. 3 (May 1, 2014). https://doi.org/10.5281/zenodo.584158.

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Agudo-Martínez, M. J. "Del Pasadismo al Futurismo." June 5, 2003. https://doi.org/10.5281/zenodo.10564981.

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Uno de los habituales prejuicios a la hora de abordar el análisis del movimiento futurista, al igual que sucede con el constructivismo, es la consideración del contexto político en el que se desarrollaron ambas vanguardias. Sin embargo, y dejando a un lado un enfoque del arte con finalidad política de signo diverso, habría que insistir en el hecho de que posiblemente sean tanto el futurismo italiano como el constructivismo ruso, los movimientos que con mayor entusiasmo se manifestaron, en un sentido amplio, a favor de la modernidad. Filippo Tommaso Marinetti,

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Książki na temat "Intonarumori"

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Heys, Toby. Sound Pressure. Rowman & Littlefield International Ltd., 2019. https://doi.org/10.5040/9798881811334.

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Sound Pressure reveals how speaker systems mounted in public, employment, military and entertainment environments have played a pivotal role in the way that humans have been physiologically and psychologically organised and disciplined throughout the past century. The networked Wired Radio speakers of the 1920’s industrialised factory, acoustically anchor a narrative based on the functional utilisation of sound systems for insidious purposes; from the surround-sound techniques of the Waco siege, to the application of sonic torture in Guantánamo and Abu Ghraib. Crucially, Sound Pressure identif

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Części książek na temat "Intonarumori"

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Niebisch, Arndt. "The Psychophysics of Luigi Russolo’s intonarumori." In Musik in der Moderne. Böhlau Verlag, 2011. http://dx.doi.org/10.7767/boehlau.9783205791621.243.

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Chessa, Luciano. "Intonarumori Unveiled." In Luigi Russolo, Futurist. University of California Press, 2012. http://dx.doi.org/10.1525/california/9780520270633.003.0008.

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White, Eric B. "Dazzling Technologies: Avant-Gardes and Sensory Augmentation in the First World War." In Reading Machines in the Modernist Transatlantic. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474441490.003.0002.

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This Chapter identifies a new form of technicity that emerged in the First World War, in which enhancement and distortion effects generated by sensory augmentation technologies could be manipulated for strategic purposes by a variety of cultural agents. It argues that ‘dazzle camouflage’, a technology developed by the British Admiralty in 1917 to delay and confuse attacking U-boats, exemplifies this mediation of everyday life both on and off the battle fronts. Focusing on the Florentine journal Lacerba and the Vorticist magazine Blast, the first part of the chapter shows how the Futurists F. T

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"French Humour and Futurist Music: Luigi Russolo’s intonarumori in a Cartoon by Jean-Jacques Roussau." In 2020. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110702200-014.

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Streszczenia konferencji na temat "Intonarumori"

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Serafin, Stefania, Amalia De Gotzen, Smilen Dimitrov, et al. "The digital Intonarumori." In 2015 IEEE Symposium on 3D User Interfaces (3DUI). IEEE, 2015. http://dx.doi.org/10.1109/3dui.2015.7131773.

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