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Luigi Russolo
Luigi Russolo, a futurist painter of the very early 20th century, was perhaps the first Noise Musician. His 1913 manifesto L'Arte de Rumori (The Art of Noises) stated that the industrial revolution had given modern men a greater capacity to appreciate more complex sounds. (See: cognitive dissonance) 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. 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. Although Russolo's works bear little resemblance to modern Noise Music, his pioneering creations cannot be overlooked as an essential stage in the evolution of this genre, and many artists are familiar with his manifesto.
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Other early composers
Beginning in the 1920s, composers (in particular Edgard Var¨¨se and George Antheil) began to use early mechanical musical instruments ¡ª such as the player piano and the siren ¡ª to create music that referenced the noise of the modern world. John Cage began composing his Imaginary Landscape series in 1939, which combined elements like recorded sound, percussion, and (in the case of Imaginary Landscape#4) twelve radios. After the second world war, other composers (including Pierre Schaeffer, Iannis Xenakis, and Karlheinz Stockhausen) started to experiment with early synthesizers, tape machines and radio equipment to produce electronic music, often with very abstract sounds and structures. Much of this music has proven influential on the creators of noise music.
With the advent of the radio, Pierre Schaeffer coined the term musique concrete to refer to the peculiar nature of sounds on tape, separated from the source that generated them initially. His ideas about non-referential sounds take their most extreme form in noise music, which often blurs or obscures the actions which produced the sounds while also suggesting the physicality of sound itself.
In all the cases of these forerunners, the sudden affordability of home recording technology in the 1970s with the simultaneous influence of punk rock established a new aesthetic of non-musicians creating music. When anyone could produce noise, and anyone could record and distribute it, then noise music provided a way for any person (artist or non-artist) to experiment with sound as a painter might with visual material. Noise began in earnest when classical avant-garde ideas became democratised, separated from the academic thought that started it, and experimented with by laymen with nothing at stake other than making music for its own end.
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Boyd Rice
American archivist and writer Boyd Rice has been a seminal influence on Noise music. Starting in 1975, Rice began experimenting with the possibilities of pure sound. In his live performances, he attached an electric fan to an electric guitar and also used an electric shoe polisher as an instrument. He created extremely loud, cascading walls of noise and played pieces of recorded conversations, news reports, and music just beneath the threshold of comprehensibility. Rice has created works that combine brutal soundscapes with various poetics. He has also structured noise elements into harmonious, rhythmic pieces that defy easy categorization.
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