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13-03-2013, 21:01 | Michael We.

MAURIZIO BIANCHI - Rerelease von "Glitchwaves"

MAURIZIO BIANCHI veröffentlicht "Glitchwaves"  neu, hier seine Ankündigung dazu:

by Maurizio Bianchi

Originally decomposed near the end of the first decade, using abnormal external sound sources and with the aid of an unusual Sony CMT-NE 3 micro Hi-Fi component system.

On March 11th, 1913 Futurist painter Luigi Russolo presented his manifesto L'Arte dei rumori (The Art of Noises). ozky e-sound is now releasing two works by Italian noisers to pay homage to this historical event.
It is with great pleasure that we announce the first of these releases, sharing with you the work of Maurizio Bianchi.
Despite a constant underestimation, Italy has contributed a lot in the field of experimentation and certainly Luigi Russolo, Pietro Grossi and Maurizio Bianchi have been among its most influential figures.
Pietro Grossi was the only one to have a proper musical role, having been first cello in the Maggio Musicale Fiorentino Orchestra; but his influence as experimental musician was due to his brave choice of abandoning the traditional path for electronic music, starting from what Grossi himself called "the instant zero".
We can definitely state that these three brilliant and brave experimenters have contributed in a personal and crucial way to the opening of music to a broader âart of soundâ.
Personally I like to spot an affinity between the researches of Luigi Russolo and Maurizio Bianchi, although they are surely distinctive. Russolo wrote his manifesto at the time when the modernization of society was commonly perceived as a positive force and the issue ânoise as soundâ - an argument that has tormented the world of music since the late 1800 - could gather the same enthusiasm. After two World Wars even Russolo had to change position, having lost his blind faith in modernity after witnessing its devastating consequences. Bianchi picks up Russoloâs idea of noise being the only sound capable of describing the complexity of the modern world, which leads to his masterpiece: Symphony For a Genocide (1981). There is no doubt that no conventional instrument, even pushed to the limit of its capabilities, could tell the horrors endured by humankind in the beginning of the 1900. Another fundamental issue covered by Maurizio Bianchiâs approach to sound is a modernist and depersonalized culture stripping don individuals. As in Russoloâs Al di là della materia (Beyond Matter) also Bianchi opens the individual to Metaphysics through to the experience of sound-noise.

ozky-e sound is deeply and sincerely grateful to Maurizio Bianchi for this unexpected gift and takes the chance to suggest to whom might be interested in sound-noise to focus on the development of thought that occurs to the ones using this mean of expression in their research.


Only digutal format
Only free download: http://archive.org/details/oz069

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