So he put his money where his noise-hole was and put on a concert on the 21st April of 1914 he would debut the instruments and concepts he had outlined in the Art of Noise and show people just what they were missing in their music: instruments that sounded like a six-car pile-up. Along with a penchant for onomatopoeic names, Russolo was a futurist who had some strong opinions about how music was too pretty and didn’t have enough noise for a modern day audience. A noise artist may make you think of Michael Winslow, but Luigi was more into manifestos: in 1912 he wrote his manifesto the Art of Noise, and used the theories he outlined in it to construct numerous instruments, such as the exploder, the rumbler, and the gurgler. Luigi Russolo was an Italian painter, but he branched out in his early thirties to become the world’s first noise artist and the father of Industrial music. But today I wanted to talk about one of the lesser known riots: Luigi Russolo and the premiere of noise music. The Rite of Spring is possibly the most famous example of this, that or Skandalkonzert that I’ll talk about in a short while down the road. But that’s a rant for a different time as today we’re talking about musical riots. Not like today: today we riot about sports and shopping. People knew how to riot back then: war was imminent, times were tough, and they didn’t even have Angry Birds to release their pent up rage. Following along in the subject a few weeks back of people responding with violence to classical music concerts, we’re going to talk about an era of music where riots were ripe: the 1910s.
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