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Futurism was an early 20th-century art movement which encompassed painting, sculpture, poetry, theatre, music, architecture and gastronomy. Filippo Tommaso Marinetti initiated the movement with his ''Manifesto of Futurism'', published in February 1909. Futurist music rejected tradition and introduced experimental sounds inspired by machinery, and would go on to influence several 20th-century composers. ==Pratella's ''Manifesto of Futurist Musicians''== The musician Francesco Balilla Pratella joined the movement in 1910 and wrote the ''Manifesto of Futurist Musicians'' (1910), the ''Technical Manifesto of Futurist Music'' (1911) and ''The Destruction of Quadrature'' (''Distruzione della quadratura''), (1912). In ''The Manifesto of Futurist Musicians'', Pratella appealed to the young, as had Marinetti, because only they could understand what he had to say. He boasted of the prize that he had won for his musical Futurist work, ''La Sina d’Vargöun'', and the success of its first performance at the ''Teatro Communale'' at Bologna in December 1909, which placed him in a position to judge the musical scene. According to Pratella, Italian music was inferior to music abroad. He praised the "sublime genius" of Wagner and saw some value in the work of Richard Strauss, Debussy, Elgar, Mussorgsky, Glazunov and Sibelius. By contrast, the Italian symphony was dominated by opera in an "absurd and anti-musical form". The conservatories encouraged backwardness and mediocrity. The publishers perpetuated mediocrity and the domination of music by the "rickety and vulgar" operas of Puccini and Umberto Giordano. The only Italian Pratella could praise was his teacher Pietro Mascagni, because he had rebelled against the publishers and attempted innovation in opera, but even Mascagni was too traditional for Pratella's tastes. In the face of this mediocrity and conservatism, Pratella unfurled ''"the red flag of Futurism, calling to its flaming symbol such young composers as have hearts to love and fight, minds to conceive, and brows free of cowardice".'' His musical programme was: *for the young to keep away from conservatories and to study independently; *the founding of a musical review, to be independent of academics and critics; *abstention from any competition that was not completely open; *liberation from the past and from "well-made" music; *for the domination of singers to end, so that they became like any other member of the orchestra; *for opera composers to write their own librettos, which were to be in free verse; *to end all period settings, ballads, "nauseating Neapolitan songs and sacred music"; and *to promote new work in preference to old. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Futurism (music)」の詳細全文を読む スポンサード リンク
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