Bruitism
As Bruitism , the French bruit (German: noise, noise) in Italian Rumorismo called, refers to the style of music that within the Italian Futurism was coined after the 1909th The Bruitism was the provocative response of the musical avant-garde to be too gentle, ethereal and immaterial be summed up music of Impressionism . The main exponents of this style, which to this day still has an impact and is present in part in new music , were Francesco Balilla Pratella and Luigi Russolo .
history
Attempts to effectively incorporate sounds into compositions have been around for centuries. So the integrated program musical Bataille noise of battle in the music. An example from the 19th century is Tchaikovsky's orchestral work Overture 1812 , in which cannon shots are to be simulated with certain instruments. In the time before the First World War , there was a belief in advanced technology in art, which was to find its way into music. Everyday noises from the street, from locomotives, cars, airplanes and machines, and later also the sounds of warfare, should be included in the compositions. The fruitist music rejected the bourgeois culture and represented an avant-garde in its radical stance, which was positive towards the war and later fascism . Bruitism was postulated on March 11, 1913 in the manifesto The Art of Noise (Italian L'arte dei rumori ), written by Luigi Russolo . Based on the earlier considerations of Filippo Tommaso Marinetti and Ferruccio Busoni , a completely new music concept was created that no longer has anything in common with the traditional conception of music and defines classic instrumental tone combinations and machine-like noises as equal, although it was requested that these noises be artistically processed. This concept went hand in hand with a special Enharmonik that the musician and writer Francesco Balilla Pratella had devised in 1911 and introduced into Futurism. Although the futuristic concept is to be regarded as a failure, bruitistic elements continue to have an effect up to the musical present of new music , and also in hard rock and pop music in all their forms and in modern sound installations.
Instruments of bruitism
The instrumentation preferred by the well-known composers of the era for fruitist effects were percussion instruments, extensive brass groups and a pronounced dynamic and usually a high tempo, as it corresponded to the hectic pace of the modern city. The Italian intonarumori ("noise generator"), designed by Luigi Russolo in 1913, were a symbol of "bruitism", but were not used by the established composers. Russolo, however, saw in them the future of the orchestra. Together with his colleague Ugo Piatti, he had built 21 instruments in 1913. In his manifesto, he lists the devices that had different pitches:
- Three ululatori (howler) in the pitches basso , medio and acuto (shrill)
- Three rombatori ( roaring , droning) basso , medio and acuto
- Four crepitarori (clinkers) basso , medio , acuto and più acuto (still shriller)
- Three stroppicciatori (Knisterer, Scharrer) basso , medio and acuto
- four different Scoppiatori (Knaller, Knatterer, to imitate internal combustion engines) basso and medio
- A ronzatoro (buzzer)
- Two Gorgogliatori (Gurgler) basso and medio
- A sibilatoro (hisser)
Some of these instruments had an electric drive, others had a hand crank and their pitch and volume could be continuously adjusted. They largely corresponded to the idea of "fruitist enharmonics".
Examples of fruitist music and examples of its representatives
Igor Stravinsky's Le sacre du printemps , later also works by Edgar Varèse , then Musique concrète from the electronic field , are examples of music with “fruitist” elements. The noise-like character is mostly created with conventional instruments. Bruitistic elements can also be found in Ravel ( L'Enfant et les sortilèges ), Hindemith (Ragtime) and other moderate composers of the era. In the score of Erik Satie's fifteen-minute ballet parade , however, numerous purely “fruitist” playing instructions appear, which gave the piece its avant-garde character in the first place and led to rejection by the audience and critics. In later times, for example, John Cage ( 4'33 ″ ("Four and a half minute silence") , Williams Mix ) and Bill Fontana used "bruitistic" principles in synthetic, electronic sound generation. Karlheinz Stockhausen's work Electronic Study I is based on sine tones that are in relation to the length of the tone. Pierre Schaeffer created a fruitist work of Musique concrète with the title Concert de bruits and used the sounds of a train ride and of eating utensils. In 1964, Luigi Nono attempted to differentiate between noise and noise with his work La fabbrica illuminata , which also has a socially critical political component. Steve Reich integrated the electronically distorted human voice in his 1966 work Come Out , which is based on the recorded testimony of a teenage murderer. Finally, John Lennon and Yoko Ono used a sound collage in their hit Revolution 9 , an experimental piece by the Beatles from 1968. Jean Tinguely , as a modern representative of machine art, can definitely be assigned to this direction. Further examples of a “fruitist” conception of music are the Hafler Trio , the band Esplendor Geométrico or the synth-pop group The Art of Noise .
Differentiation from noise
Bruitism is to be distinguished from the music genre noise , which gives noise and noise a different meaning than what bruitism of the early 20th century demands. In addition to the classic rock band instruments with their electric guitars , noise also includes heavily overdriven amplifiers and synthesizers , the noise of which should penetrate, attack and traumatize the human body.
literature
- Andreas Hoppe: Sound experiments of bruitism. With special consideration of the history of ideas of Italian futurism . In: Werner Keil (Hrsg.): Music of the twenties (= Hildesheim musicological works . Volume 3 ). G. Olms, Hildesheim / New York 1996, p. 261-280 .
- Luigi Russolo: The Art of Noise. (With an afterword by Johannes Ullmaier). Schott, Mainz 2000, ISBN 3-7957-0435-9 , p. 85 ff.
- Evelyn Benesch, Ingried Brugger: Futurism - Radical Avant-garde. Mazzotta, Milan 2003, ISBN 88-202-1602-7 .
Individual evidence
- ↑ Internet site archive sterneck.net
- ↑ Luigi Russolo: The Art of Noise . Mainz 2000, ISBN 3-7957-0435-9 , p. 64
- ↑ Museum demonstration of reconstructed intonarumori in the Museu Coleção Berardo , Lisbon
- ↑ Grete Wehmeyer: Bruitisme . In: Erik Satie (= studies on the history of music in the 19th century . Volume 36 ). Bosse, Regensburg 1974, ISBN 3-7649-2077-7 , p. 187 .
- ↑ Luigi Russolo: The Art of Noise. Mainz 2000, ISBN 3-7957-0435-9 , p. 85 ff.
- ↑ Wolfgang Lamprecht in: Futurism - radical avant-garde , section kroook - kraaak: Tönende Manifeste. About the music and the art of noise in futurism . Mazzotta, Milan 2003, ISBN 88-202-1602-7 , p. 101 ff.
- ↑ Allen S. Weiss: Experimental Sound & Radio , Cambridge, Massachusetts: MIT Press 1996, ISBN 978-0262-7313-00 , p. 169