Written Exercies: Responding to Manifestos
For many, the entire field of Sound Art is borne from Russolo’s L’arte dei Rumori (1913), a passionate ultimatum which extols the beauty of Sounds produced by machines, and how they can be integrated into existing musical practices. I also offer Antheil’s article from 1925, My Ballet Mécanique as a forecast for how machine control of Sound will lead to new kinds of Musical forms. Russolo’s Intonarumori were early Synthesizers. The computational player piano techniques of Antheil took a useful step towards Sequencers and Drum Machines.
Your assignment is to write about these predictions of the Futurists. What of them came true? Has Futurism succeeded or failed?
Describe Russolo’s and/or Antheil’s vision for Sound and Music. How is it reflected in their technological designs, and the musical works they composed? What experiences of Sound do they call for? What cultural changes do they imagine?
Now look at Detroit Techno and contemporary EDM culture. What of Russolo’s and Antheil’s Futurist manifestos can be seen in the origins and current state of Techno/EDM? Can comparisons be made between Futurism and the rebirth of electronic music in Detroit? And from there, globally?
Cite at least one specific idea or phrase from Kodwo Eshun’s essay to make your point (just as you did with last week’s writing assignment).
Then support your thesis with at least one musical example by Juan Atkins/Cybotron, Carl Craig, Kevin Saunderson, Jeff Mills, Robert Hood/Underground Resistance, Autechre, Oval, Alva Noto, Zapp, Drexciya, and/or Jlin.
APA
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