ABSTRACT
The chapter, starting also from direct experience, tries to open a debate around the specificities of the soundscaping activities carried out during the lockdown period during the COVID-19 emergency. For many individuals, ambient sound recordings represented the virtualisation of experiential reality, and proved to be a powerful tool for experiencing emotions through the medial action of increasingly sophisticated technological tools. Through an aesthetic-atmospherical and musicological approach, some peculiarities manifested by the activities of music making, and by the listeners themselves who have enjoyed it, frame what I propose to call pandemic soundscaping. In addition to the musical object itself, we will see how pandemic soundscaping, with its new aura, presents peculiar characteristics both on the poietic and on the aesthetic levels.
