Beate Kutschke: Geräuschkonzepte

Das Bedeutungsfeld des Geräuschs im Vorfeld des italienischen Futurismus

Luigi Russolo’s reasons for formulating writing his manifest, The Art of Noises (1913), which defined the nature of “truly futurist music,” are not music historiographical or theoretical ones as he himself maintained. In light of the impetus of Italian futurism’s cultural criticism, it becomes apparent that the primary motivation for emphasizing noise as fundamental musical material was, conversely, the futurists’ overriding intention to provoke scandal, violence, and a cultural revolution. Established concepts and metaphors of noise manifesting themselves in such varied fields as law, charivari, manners, everyday language, and music theoretical writings perfectly suited this aim by providing collateral reinforcements for Russolo’s manifest and noise music’s provocative effects, as witnessed by contemporaries.

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