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The revolution of the Futurist movement in the musical domain stems from the Bruitism of the painter Luigi Russolo, described in his work The Art of Noises <\/em>which eloquently completes the Futurist ideas in the domain of timbre. It was allegedly during the Futurist evening of 9 March 1913, at the Teatro Costanzi in Rome, that Luigi Russolo, on hearing Pratella\u2019s symphony L\u2019hymne \u00e0 la vie,<\/em> had a \u201crevolutionary intuition\u201d, \u201cBruitism\u201d: to extend the field of timbre to the use of noise from a musical perspective. We know today that this idea in fact predated the concert of 9 March, and that it was presented as such so as to spare the sensibilities\u00a0 of Pratella, designated as the official Futurist composer. Thus it was that Russolo wrote, two days later, on 11 March 1913, a laudatory \u201cmanifesto letter\u201d to Pratella in which one can read:<\/p>\n \t\u201c(\u2026) Every noise has a tone, sometimes also a chord that dominates the whole of its irregular vibrations. The existence of this predominant tone gives us the practical possibility of intoning noises, that is, of giving a noise a certain variety of tone without losing its characteristic, I mean the timbre that distinguishes it. Certain noises obtained by rotary movement can offer us an entire ascending or descending scale, whether the speed of the movement is increased or decreased. (\u2026)\u201d<\/p>\n (Russolo, The Art of Noises, 11 March 1913)<\/p>\n Voici cinq exemples d'instruments bruiteurs de Luigi Russolo, dans l'ordre : Crepitatore, Ullulatore, Gracidatore, Gorgogliatore, Ronzatore.<\/span><\/p>\n