The subject of this research is the sound experiments within Italian Futurism – one of the most radical artistic phenomena of the early 20th century. A key figure of this movement is Luigi Russolo, and the central document defining its aesthetics is his 1913 manifesto, "The Art of Noises." The focus of the work is a comprehensive analysis of the theory and practice behind the creation and use of noise instruments (intonarumori) constructed by Russolo. The article examines in detail their unique design features, sound production principles, and the revolutionary-for-its-time sonic aesthetics aimed at incorporating industrial and everyday noises into the realm of musical art. The study situates the phenomenon of the "art of noises" within the broad historical and cultural context of the era, tracing its connections to the manifestos of F.T. Marinetti, Futurist painting, and the avant-garde's general aspiration for a total renewal of artistic language. The research is based on historical-cultural and analytical approaches. It is built on the analysis of primary sources – the manifestos of Luigi Russolo and Filippo Tommaso Marinetti, as well as materials from the early 20th century periodical press. The method of comparative analysis is used to identify the interrelationships between various art forms (poetry, painting, music) within the Futurist movement. The novelty of the research lies in a comprehensive examination of the "art of noises" phenomenon as a synthetic project at the intersection of music, technology, visual art, and performance practices. The work emphasizes not only the historical role of Russolo but also the practical implementation of his ideas and their specific influence on the subsequent course of musical history. Russolo's sound experiments were not a passing episode in art history but represented a consistent and deeply conceived attempt to renew musical language to make it adequate for the technological age. Despite the loss of the original instruments, Russolo's conceptual contribution – the legitimization of noise as artistic material, the invention of new instruments and principles of notation—has proven its viability and exerted a long-term impact on the development of avant-garde and electronic music.
Artur Andreevich Furmanov (Thu,) studied this question.