ABSTRACT
This chapter, which focuses on the ontological status of rock, jazz and pop will deal precisely with the relations between paradigms or conceptual schemes in the musical dimension, their limits, and the feasibility of finding new ones apart from those which can be found in scientifically oriented literature. The chapter traces back the theoretical component to the notion of 'neo-auratic encoding' (NAE), differing from the idea of the loss of aura for the artwork in the era of mechanical reproducibility, as theorized in 1936 by Walter Benjamin. The three different conceptual schemes identify three distinct operative implementations of neo-auratic encoding, which are important for the definition of the semantic field of sound recording experiences: optimizing/compensative, documentary and creative. The performative optimization and the compensatory attitude of neo-auratic phenomenology are particularly affected by the dyadic conceptual scheme of 'composition/performance': the performance guarantees the ontological status of creative objectivation as an implicit counterpart of a written and self-sufficient work.
