Strategia di ascolto

Musicology of Electroacoustic Music [MEM]  > 

Esperienza di Ascolto

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La musica non viene ascoltata in modo uniforme, fisso o oggettivo. La ricerca e la pratica della musica elettroacustica si è sempre posta il problema di illustrare i modi in cui la musica o le musiche vengono percepite, adottando varie strategie d ascolto. E’ molto frequente, nei brani di musica, che differenti modi di ascolto convivano all’interno dello stesso brano. Per questo i compositori e musicisti di musica elettroacustica spesso studiano e utilizzano i vari risultati delle ricerche, per trasformarle in strategie compositive.

L’ascoltatore adotta varie strategie di ascolto a seconda degli aspetti salienti percepiti nelle superfici e nelle strutture musicali. Ad esempio, una sequenza monofonica molto veloce composta di eventi autonomi verrà ascoltata in modo diverso da una tessitura granulare molto densa e lenta. Similmente, una forma narrativa verrà ascoltata in maniera differente rispetto ad una situazione musicale estremamente astratta.

Poiché la musica elettroacustica è un’arte basata sul tempo, l’ascolto può essere direzionato da strategie e codici musicali compositivi, come pure può porsi in maniera libera senza costrizioni. Le teorie ecologiche affermano a questo proposito che ogni stimolo sonoro contiene già in sé stesso la strategia di ascolto più indicata.

 

See also

Modalità di ascolto

 

Bibliography:

English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

Appleton, Jon H. (1969). Re-evaluating the Principle of Expectation in Electronic Music
Barrière, Françoise (1995). Reflexions on the State of Electroacoustic Music Today : AEsthetic Evolution and Relation with the Public
Camilleri, Lelio, Smalley, Denis (1998). The Analysis of Electroacoustic Music: Introduction
Delalande, François (2002a). {Aquatisme}
Dupont, Maÿlis (2001). Pour une écoute critique : l’émergence de la musique
Ferraz, Silvio, Aldrovandi, Leonardo (2000). Loop-interpolation-random & Gesture: Déjà vu in computer-aided composition
Field, Ambrose (1996). An Introduction to Discovery Strategy
Hufschmitt, Aline (2001). Continuité ou discontinuité ? Un exemple de perception changeante de la fin de {Sud}
IRCAM-Hyptique, (1999). Dix jeux d’écoute
Karkoschka, Erhard (1972). Eine Hörpartitur elektronischer Musik (An electronic music listening score)
Keane, David (1981). The Quest for ‘Musically Interesting’ Structures in Computer Music
Keane, David (1986). At the Threshold of an Aesthetic
Keane, David (1989b). The Quest for “Musically Interesting” Structures in Computer Music
Lagrost, Jean-François (2001). Matières, espace, lumière et évolution : quatre manières de percevoir le début de {Sud}
López, Francisco (2004). Profound Listening and Environment Sound Behaviour
Norris, Michael (1999). Reinstating Interpretation: The status of Analysis in an Electroacoustic Context
Ouzounian, Gascia (2006). Embodied sound: Aural architectures and the body
Smalley, Denis (1986). Spectro-morphology and Structuring Processes
Smalley, Denis (1992). The Listening Imagination: Listening in the Electroacoustic Era
Smalley, Denis (1995a). The Listening Imagination: Listening in the Electroacoustic Era
Smalley, Denis (1999). Établissement de cadres relationnels pour l’analyse de la musique postschaefferienne
Wee, Cecilia (2002). Discussing Some Effects of Technology on Musical Participation in Contemporary Society
Windsor, W. Luke (2000). Through and Around the Acousmatic: The Interpretation of Electroacoustic Sounds
Worrall, David (1998). Space in Sound: Sound of Space

 

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