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.
UNESCO DigiArts- Introduction à l’histoire et à l’esthétique des musiques électroacoustiques: Session 1 - Quelques réflexions sur les relations entre le son et la musique ( French )
Bibliography: Battier, Marc (2001). De la machine à l’oreille. Le paradoxe de la musique concrète
Battier, Marc (2003c). Science et technologie comme sources d’inspiration