ABSTRACT

This chapter aims to set up the experiment on “two factors of unification among musical notes” and find the phenomenon that would many years later come to be known as the “auditory stream”. There is a fourfold segregation of the sound stream, with a ragged double ramification guided by the tonal unification of the higher notes of the right hand, where the higher notes create a tonal unification that is out of synch with that of higher range. Paolo Bozzi takes up the question of the relations of phenomenal equilibrium among notes that follow each other in a single melodic profile. The most characteristic, and most widely played, of Bozzi’s musical compositions for the violin is, however, Meta-Kitsch, whose very title announces the ludic aim of retrieving a style that was recognised as having crystallised into a cliche.