L'Arte dei “Romori”
Leonardine Devotion in Luigi Russolo's Oeuvre
Bibliographic Data
| ID | 10265455 |
|---|---|
| Authors | Luciano Chessa (Luciano Chessa (composer, musicologist), San Francisco Conservatory of Music, 50 Oak Street, San Francisco, CA 94102, U.S.A.., corresponding author) |
| Year | 2008 |
| Volume | 41 |
| Issue | 1 |
| Pages | 43-48 |
| Publication date | 2008-02-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Leonardo (JOURNAL) |
| Journal identifiers | ISSN: 0024-094X • E-ISSN: 1530-9282 |
| Publisher | MIT Press - Journals (PUBLISHER) |
| DOI | 10.1162/leon.2008.41.1.43 |
| OpenAlex | W2010445897 |
| Language | EN |
| References cited | 1 |
The author has discerned a deep interest in the occult arts at the core of Luigi Russolo's Art of Noises. Such an interest is confirmed by Russolo's admiration for Leonardo da Vinci. Leonardo's writings on music and acoustics constituted in fact a scientific and spiritual paradigm for Russolo; the former's mechanical musical-instrument projects were important models for Russolo's own, from 1913's intonarumori to the nuovo istrumento musicale a corde of 1931. Perhaps because of the futurists' ambivalent position toward the figure of Leonardo (proto-futurist or passatista), Russolo profusely quoted Leonardo but carefully avoided mentioning any borrowing
Admiration · Ambivalence · Art · Art history · Futurist · Humanities · Literature · Musical · The arts · Visual arts · Diverse Musicological Studies · Italian Literature and Culture · Music Technology and Sound Studies · Philosophy · Psychology
| Highly cited | No |
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