Il rumore nella musica contemporanea

The history of arts is full in unexpected episodes, unforeseen phenomena as well as radical twists. These are all dynamics usually conveyed by concepts, key words and categories which can prove themselves to be more or less original. Contemporary music may be interpreted as proceeding from the introduction and evolution of elements which are new or, in other circumstances, are reclaimed from tradition and interpreted under new lights. Among these an element that has significantly contributed to the modification of the internal assets of composition and fruition of music is the element of ‘noise’.This contribution cannot and it is not intended to retrace these experimental paths but to recall, in a more defined way, three peculiar moments of this dense history situated namely at the beginning (Futurism), at the half (musique concrète) and at the end of last Century (glitch music). The aim is to underline the aesthetic and poetic value of noise, no longer perceived as a mere element of disturbance from which to shrink, but as an aesthetic category dense in theoretical, historical, sociological implications as well as perceptive and technological connotations