Welcome to the Noise

Welcome to the Noise

Jiyoo Jye and Shaunta Butler
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I believe in many things; in an intonation as just as I am capable of making it, in musical instruments on stage, dynamic in form, visually exciting. I believe in dramatic lighting, replete with gels, to enhance them. I believe in musicians who are total constituents of the moment, irreplaceable, who may sing, shout, whistle, stamp their feet. I believe in players in costume, or perhaps half-naked, and I do not care which half; perhaps only with headpieces, but something, just something, that will remove them from the pedestrian, the city-street, the beloved- and-dutiful-son or daughter, the white-shirt-and-tie or evening- gown syndrome.

I believe in Bass Marimbists with footwork as beautiful as that of skilled boxers, in kitharists who move the trunks of their bodies like athletes. I believe in all sounds of the human voice, free from the bel-canto straitjacket. Finally, I believe in a total integration of factors, not as separate and sealed specialties in the artificially divorced departments of universities, but of sound and sight, the visually dynamic and dramatic, all channeled into a single, wholly fused, and purposeful direction. All.

—Harry Partch, Statement, 1960


“In ancient life it was all silence. Due to the invention of machines, in nineteenth century Noise was born. Today, noise reigns supreme upon the sensitivity of men.” (Russolo., L’Arte dei Rumori in Maffina. Op Cit. P. 129)

When the intonarumori was first introduced by Luigi Russolo and his collaborating friend Ugo Piatti, the combination of odd shapes, unconventional sounds and mechanisms left the audience perplexed. Despite this, what the performance unveiled that evening was an experimentation of the futurist genre and an important step in the history of acoustic perception. 

In this remote studio, students will devise unique ways to play music that can be designed for collaborative performances, generate new types of sounds, help teach musical concepts, while exploring the fundamentals of sound. Through integration of custom fabricated parts, each project will present perspectives that inform different musical pedagogies and how they address the design of these instruments. 

 

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