Non Consumiamo Marx

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8 thoughts on “ Non Consumiamo Marx

  1. Watch the video for Non Consumiamo Marx from Luigi Nono's Un Volto, E Del Mare / Non Consumiamo Marx for free, and see the artwork, lyrics and similar artists.
  2. View credits, reviews, tracks and shop for the Vinyl release of Non Consumiamo Marx - Musica Manifesto N. 1 Di Luigi Nono on Discogs/5(6).
  3. Nov 02,  · the title Non Consumiamo Marx, and "Licensed from G. Ricordi" line are printed in black, not in red; "Diritti riservati" (printed), and SEDRIM rights society stamp are missing, replaced by S.I.A.E. (printed), and SIAE rubbestamped on A label); and (p) Bella Ciao Ed. Musicali is printed on labels. No booklet included/5(2).
  4. Jul 17,  · BLACKOUT ((poetry & politics)) " A revolutionary movement does not spread by contamination / But by resonance / Something that constitutes itself here / Resonates with the shock wave given off by something that constituted itself elsewhere / The body that resonates does so in its own way / An insurrection is not like the propagation of the plaque or a forest fire a linear process .
  5. Both sides of Musica-Mainifesto N.1, Un volto, e del mare and Non consumiamo Marx, are works for magnetic tape, the first archived through careful editing to achieve a singular polyphonic complexity, while the second utilizes manipulation of its source material through filters and modulators, played against electronically generated sounds. The.
  6. This was the first – and last – occasion that Mozart composed an opera for a non-court theatre. The suburban Freihaustheater auf der Wieden opened in Its audiences were mixed, as was its repertoire; alongside ephemeral popular fare, works by Goethe and .
  7. "Revolution 9" is a sound collage that appeared on the Beatles' eponymous release (popularly known as the "White Album"). The composition, credited to Lennon–McCartney, was created primarily by John Lennon with assistance from George Harrison and Yoko said he was trying to paint a picture of a revolution using sound.
  8. With ‘Points and Planes of Potential Future Violations’ he establishes a beguiling soundfield foregrounding insectoid electronics over cascading piano arpeggios in the midground, punctuated by percussive violence and leading to head-wrenching chaos recalling Luigi Nono’s ‘Non Consumiamo Marx.

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