Musical Listening in the Age of Technological Reproduction

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Part 1 Facets of a Theoretical Question
1.Aesthetic Experience Under the Aegis of Technology
Gianmario Borio
2. Ideological, Social and Perceptual Factors in Live and Recorded Music
Eric Clarke
3. On the Evolution of Private Record Collections: A Short Story
Esteban Buch
4. Music and Technical Reproducibility: A Paradigm Shift
Alessandro Arbo
5. Algorithmic and Nostalgic Listening: Post-subjective Implications of Computational and Empirical Research
Sebastian Klotz
6. Listening to Histories of Listening: Collaborative Experiments in Acoustemology with Nii Otoo Annan
Steven Feld
Part 2 Remediations
7. Remediation or Opera on Screen? Some Misunderstandings Regarding Recent Research
Michele Girardi
8. Between Mediatization and Live Performance: The Music for Giorgio Strehler's The Tempest (1978)
Emilio Sala
9. The 'Remediated' Rite of Spring
Gianfranco Vinay
Part 3 Listening with Images
10. Listening to Images: A Historical Overview of Theoretical Reflection
Nicholas Cook
11. Seeing Sounds, Hearing Images: Listening Outside the Modernist Box
Roberto Calabretto
12. The Transformation of Musical Listening: The Case of Electroacoustic Music
Martin Laliberte
Part 4 Recordings and the New Aura
13. Neo-auratic Encoding: Phenomenological Framework and Operational Patterns
Vincenzo Caporaletti
14. 'If a Song Could Get Me You': Analysis and the (Pop) Listener's Perspective
Dietrich Helms
15. The Persistence of Analogue
Mark Katz
Part 5 Composing and Performing with Electronic Means
16. Semiconducting: Making Music after the Transistor
Nicolas Collins
17. 'Live is Dead?': Some Remarks about Live Electronics Practice and Listening
Angela Ida De Benedictis
18. Sonic Imprints: Instrumental Resynthesis in Contemporary Composition
Nicolas Donin
Part 6 Audiovisual Documentation in Ethnomusicological Research
19. New Trends in the Use of Audiovisual (and Audio) Technology in Contemporary Ethnomusicology
Giovanni Giuriati
20. Recording Out-takes: What can be Discovered in the 'Historical' Recordings of Traditional Music
Maurizio Agamennone
21. Audiovisual Ethnography: New Paths for Research and Representation in Ethnomusicology
Nicola Scaldaferri

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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.

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