79. Ruidismo

Contemporánea

La historia de la música no depara un lugar de importancia a esta manifestación sonora hasta 1913, año del manifiesto de Russolo que preconiza los intonarumori o máquinas de ruido. Mucho más tarde despierta el ruidismo en Japón y en la escena del rock alternativo.
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Has escuchado

An Anthology of Noise & Electronic Music. Third A-Chronology 1952-2004 / Peter Rehberg (Pita). Sub Rosa (2004)

Doing by not doing: [Iannis Xenakis. Persepolis + Remixes. Edition I] / Zbigniew Karkowski. Asphodel (2002)

Acid Bath, Drip Bones: [Ju-Jikan: 10 Hours of Sound from Japan] / Pain Jerk. 23five; San Francisco Museum of Modern Art (2002)

“Luigi Russolo, Intonarumoris, 1913”. YouTube Vídeo. Publicado por david rato, 1 de julio de 2012: [Vídeo]

Minazo Volume 1. Voices from the Sea / Merzbow (Masami Akita). Important Records (2006)

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Selección bibliográfica

ARIZA, Javier, “El ruidismo en el cine. La expansión del universo acústico en imágenes”. En: El sonido de la velocidad: cine y música electrónica. Editado por Pablo G. Polite y Sergi Sánchez Martí. Alpha Decay, 2011

ATTALI, Jacques, Ruidos: ensayo sobre la economía política de la música. Traducción de Federico Álvarez. Siglo Veintiuno Editores, 1995

ATTON, Chris, “Fan Discourse and the Construction of Noise Music as a Genre”. Journal of Popular  Music Studies, vol. 23, n.º 3 (2011), pp. 324-342

BAILEY, Thomas Bey William, Micro-Bionic: Radical Electronic Music and Sound Art in the 21st Century. Creation Books, 2009*

BIJSTERVELD, Karin, Mechanical Sound: Technology, Culture, and Public Problems of Noise in the Twentieth Century. The MIT Press, 2008

BROWN, Barclay, “The Noise Instruments of Luigi Russolo”. Perspectives of New Music, vol. 20, n.º 1-2 (1981), pp. 31-48*

CUSICK, Suzanne, “‘You Are in a Place That Is Out of the World…’: Music in the Detention Camps of the Global War on Terror”. Journal of the Society for American Music, vol. 2 (2008), pp. 1-26*

DEMERS, Joanna, Listening through the Noise: The Aesthetics of Experimental Electronic Music. Oxford University Press, 2010*

DOLAN, Daniel, “Cultural Noise: Amplified Sound, Freedom of Expression and Privacy Rights in Japan”. International Journal of Communication, vol. 2 (2008), pp. 662-690

FRIEDL, Reinhold, “Some Sadomasochistic Aspects of Musical Pleasure”. Leonardo Music Journal, vol. 12 (2002), pp. 29-30*

GODDARD, Michael, Benjamin Halligan y Nicola Spelman (eds.), Resonances: Noise and Contemporary Music. Bloomsbury, 2013

GRAHAM, Stephen, “Noise as Concept, History, and Scene”. En: Sounds of the Underground: A Cultural, Political and Aesthetic Mapping of Underground and Fringe Music. University of Michigan Press, 2016

HEGARTY, Paul, Noise/music: a History. Continuum, 2007*

ILES, Anthony et al., Ruido y capitalismo. Arteleku, 2011*

KAHN, Douglas, Noise Water Meat: A History of Sound in the Arts. The MIT Press, 1999*

KELLEY, Caleb, Cracked Media: The Sound of Malfunction. The MIT Press, 2009

NOVAK, David, Japanoise: Music at the Edge of Circulation. Duke University Press, 2013

ROSELL, Oriol, Un cortocircuito formidable: de los Kinks a Merzbow: un continuum del ruido. Alpha Decay, 2024*

ROSS, Alex, El ruido eterno: escuchar al siglo XX a través de su música. Seix Barral, 2010*

SCHWARTZ, Hillel, Making Noise: From Babel to the Big Bang and Beyond. Zone, 2011

SIM, Stuart, Manifesto for Silence: Confronting the Politics and Culture of Noise. Edinburgh University Press, 2007

VENN, Edward, “Rethinking Russolo”. Tempo, vol. 64, n.º 251 (2010), pp. 8-16*

VOEGELIN, Salome, Listening to Noise and Silence: Towards a Philosophy of Sound Art. Continuum, 2010*

*Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

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