A term invented by the futurist, Luigi Russolo in 1913 as part of his art of noises. Originally the term was applied with reference to new noise instruments, Intonarumori, that were played on their own as well as alongside orchestral instruments. The term evolved throughout the decades and has often been associated with works by Karlheinz Stockhausen who called for the emancipation of noise in many of his earlier works.

Terme inventé par le futuriste Luigi Russolo en 1913 dans son ouvrage L'art des bruit. À l'origine, il était employé pour désigner les nouveaux instruments bruiteurs, les Intonurumori, qui étaient joués seuls ou avec des instruments de l'orchestre. Ce terme a évolué pendant plusieurs décennies pour être aussi associé aux œuvres de Karlheinz Stockhausen qui, dans plusieurs de ses premières œuvres, a défendu l'utilisation du bruit comme matériau musical.

Il termine Bruitismo o Rumorismo, introdotto dal Futurista Luigi Russolo nel 1913, fa parte della teoria connessa all'Arte dei Rumori. Originariamente, fu impiegato per designare i nuovi strumenti, gli intonarumori, che erano suonati da soli o con l'orchestra. Il termine si è poi evoluto nel corso dei decenni forse associato alle opere di Karlheinz Sockhausen che, in molte delle sue prime opere, difendeva l'utilizzo del rumore come materiale musicale.

A term invented by the futurist, Luigi Russolo in 1913 as part of his art of noises. Originally the term was applied with reference to new noise instruments, Intonarumori, that were played on their own as well as alongside orchestral instruments. The term evolved throughout the decades and has often been associated with works by Karlheinz Stockhausen who called for the emancipation of noise in many of his earlier works.

Un término inventado por el futurista Luigi Russolo en 1913 como parte de su arte de los ruidos. Originalmente, el término se aplicaba a los nuevos instrumentos productores de ruido, como los Intonarumori, que eran tocados ya sea solos o conjuntamente con intrumentos orquestales. El término fue evolucionando a través de las décadas y ha sido frecuentemente asociado con las obras de Karlheinz Stockhausen, quien hacía hincapié en la emancipación del ruido en muchas de sus primeras obras.