Editing Noise music (section)

===Origins===
In "Futurism and Musical Notes", Daniele Lombardi discussed the French composer Carol-Bérard; a pupil of [[Isaac Albéniz]], who composed a ''Symphony of Mechanical Force''s in 1910, wrote on the problems of the instrumentation of noise music, and developed a notation system.<ref>{{Cite web|url=https://www.artforum.com/features/futurism-and-musical-notes-208728/|title=FUTURISM AND MUSICAL NOTES|first=Daniele|last=Lombardi|date=January 10, 1981}}</ref>

[[File:Luigi Russolo ca. 1916.gif|thumb|right|200px|[[Luigi Russolo]] c. 1916]]
In 1913 [[Futurism|Futurist]] artist [[Luigi Russolo]] wrote his manifesto, ''L'Arte dei Rumori'', translated as ''[[The Art of Noises]]'',<ref>{{Cite web |last=Russolo |first=Luigi |author-link=Luigi Russolo |title=The Art of Noises |url=https://www.unknown.nu/futurism/noises.html |access-date=2023-12-21 |website=www.unknown.nu}}</ref> stating that the industrial revolution had given modern men a greater capacity to appreciate more complex sounds. Russolo found traditional melodic music confining and envisioned noise music as its future replacement. He designed and constructed a number of noise-generating devices called ''[[intonarumori]]'' and assembled a noise [[orchestra]] to perform with them. Works entitled ''Risveglio di una città'' (Awakening of a City) and ''Convegno d'aeroplani e d'automobili'' (The Meeting of Aeroplanes and Automobiles) were both performed for the first time in 1914.<ref>{{Cite book |last=Sitsky |first=Larry |url=https://books.google.com/books?id=9-M_jhnOuboC&dq=russolo+riot&pg=PA415 |title=Music of the Twentieth-Century Avant-Garde: A Biocritical Sourcebook |date=2002-12-30 |publisher=Bloomsbury Academic |isbn=978-0-313-29689-5 |pages=415–419 |language=en}}</ref>

A performance of his ''Gran Concerto Futuristico'' (1917) was met with strong disapproval and violence from the audience, as Russolo himself had predicted. None of his intoning devices have survived, though recently some have been reconstructed and used in performances. Although Russolo's works bear little resemblance to contemporary noise music such as [[Japanoise]], his efforts helped to introduce noise as a musical [[aesthetic]] and broaden the perception of sound as an artistic medium.<ref>Paul Hegarty, ''Noise/Music: A History'' (London: Continuum International Publishing Group, 2007), pp. 13–14.</ref><ref>[[László Moholy-Nagy]] in 1923 recognized the unprecedented efforts of the Italian Futurists to broaden our perception of sound using noise. In an article in ''Der Storm #7'', he outlined the fundamentals of his own experimentation: "I have suggested to change the gramophone from a reproductive instrument to a productive one, so that on a record without prior acoustic information, the acoustic information, the acoustic phenomenon itself originates by engraving the necessary Ritchriftreihen (etched grooves)." He presents detailed descriptions for manipulating discs, creating "real sound forms" to train people to be "true music receivers and creators" ([http://ubu.com/papers/rice.html Rice 1994],{{Page needed|date=December 2009}}<!--Even though a website version is offered, a page reference to the original, paper publication is needed, since it is more permanent and websites tend to vanish without warning.-->).</ref>

{{Blockquote|At first the art of music sought purity, limpidity and sweetness of sound. Then different sounds were amalgamated, care being taken, however, to caress the ear with gentle harmonies. Today music, as it becomes continually more complicated, strives to amalgamate the most dissonant, strange and harsh sounds. In this way we come ever closer to ''noise-sound.''|[[Luigi Russolo]] ''The Art of Noises'' (1913)<ref>[[Luigi Russolo|Russolo, Luigi]] from [http://www.unknown.nu/futurism/noises.html ''The Art of Noises''], March 1913.</ref>}}

[[Antonio Russolo]], Luigi's brother and fellow Italian [[Futurism|Futurist]] composer, produced a recording of two works featuring the original ''intonarumori''. The 1921 made [[phonograph]] with works entitled ''Corale'' and ''Serenata'', combined conventional orchestral music set against the famous noise machines and is the only surviving sound recording.<ref>[[Daniel Albright|Albright, Daniel]] (ed.) ''Modernism and Music: An Anthology of Source''. Chicago: University Of Chicago Press, 2004. p. 174</ref>

An early [[Dada]]-related work from 1916 by [[Marcel Duchamp]] also worked with noise, but in an almost silent way. One of the [[found object]] [[Readymades of Marcel Duchamp]], ''A Bruit Secret'' (With Hidden Noise), was a collaborative work that created a noise instrument that Duchamp accomplished with [[Walter Arensberg]].<ref>Chilvers, Ian & Glaves-Smith, John eds., ''Dictionary of Modern and Contemporary Art'', Oxford: [[Oxford University Press]], 2009. pp.&nbsp;587–588</ref> What rattles inside when ''A Bruit Secret'' is shaken remains a mystery.<ref>[[Michel Sanouillet]] & Elmer Peterson (Eds.), ''The Writings of Marcel Duchamp'', [[Da Capo Press]], p. 135.</ref>