It is undeniable that technology has made a tangible impact on the nature of musical listening. The new media have changed our relationship with music in a myriad of ways, not least because the experience of listening can now be prolonged at will and repeated at any time and in any space. Moreover, among the more striking social phenomena ushered in by the technological revolution, one cannot fail to mention music’s current status as a commodity and popular music’s unprecedented global reach. In response to these new social and perceptual conditions, the act of listening has diversified into a wide range of patterns of behaviour which seem to resist any attempt at unification. Concentrated listening, the form of musical reception fostered by Western art music, now appears to be but one of the many ways in which audiences respond to organized sound. Cinema, for example, has developed specific ways of combining images and sounds; and, more recently, digital technology has redefined the standard forms of mass communication. Information is aestheticized, and music in turn is incorporated into pre-existing symbolic fields. This volume - the first in the series Musical Cultures of the Twentieth Century - offers a wide-ranging exploration of the relations between sound, technology and listening practices, considered from the complementary perspectives of art music and popular music, music theatre and multimedia, composition and performance, ethnographic and anthropological research.

part I|103 pages

Facets of a Theoretical Question

chapter 1|20 pages

Aesthetic Experience Under the Aegis of Technology

ByGianmario Borio

chapter 3|12 pages

On the Evolution of Private Record Collections

A Short Story
ByEsteban Buch

chapter 4|16 pages

Music and Technical Reproducibility

A Paradigm Shift
ByAlessandro Arbo

chapter 5|22 pages

Algorithmic and Nostalgic Listening

Post-subjective Implications of Computational and Empirical Research
BySebastian Klotz

chapter 6|14 pages

Listening to Histories of Listening

Collaborative Experiments in Acoustemology with Nii Otoo Annan
BySteven Feld

part II|59 pages


chapter 7|26 pages

Remediation or Opera on Screen?

Some Misunderstandings Regarding Recent Research
ByMichele Girardi

chapter 8|18 pages

Between Mediatization and Live Performance

The Music for Giorgio Strehler's The Tempest (1978)
ByEmilio Sala

chapter 9|14 pages

The ‘Remediated' Rite of Spring

ByGianfranco Vinay

part III|65 pages

Listening with Images

chapter 10|18 pages

Listening to Images

A Historical Overview of Theoretical Reflection
ByRoberto Calabretto

chapter 11|18 pages

Seeing Sounds, Hearing Images

Listening Outside the Modernist Box
ByNicholas Cook

chapter 12|28 pages

The Transformation of Musical Listening

The Case of Electroacoustic Music1
ByMartin Laliberté

part IV|57 pages

Recordings and the New Aura

chapter 13|20 pages

Neo-auratic Encoding

Phenomenological Framework and Operational Patterns1
ByVincenzo Caporaletti

chapter 14|22 pages

‘If a Song Could Get Me You'

Analysis and the (Pop) Listener's Perspective1
ByDietrich Helms

chapter 15|14 pages

The Persistence of Analogue

ByMark Katz

part V|53 pages

Composing and Performing with Electronic Means

chapter 16|10 pages


Making Music after the Transistor1
ByNicolas Collins

chapter 17|22 pages

‘Live is Dead?'

Some Remarks about Live Electronics Practice and Listening
ByAngela Ida De Benedictis

chapter 18|20 pages

Sonic Imprints

Instrumental Resynthesis in Contemporary Composition
ByNicolas Donin

part VI|49 pages

Audiovisual Documentation in Ethnomusicological Research

chapter 20|16 pages

Recording Out-takes

What can be Discovered in the ‘Historical' Recordings of Traditional Music
ByMaurizio Agamennone

chapter 21|20 pages

Audiovisual Ethnography

New Paths for Research and Representation in Ethnomusicology
ByNicola Scaldaferri