Listening to Music in the Digital Era

In this paper, I examine the relationship between new technologies and listening, starting from a distinction between two different levels. The first concerns the role new technologies play in the “mere” reproduction and diffusion of music materials that are not necessarily classifiable in the categ...

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Main Author: Giacomo Fronzi
Format: Article
Language:English
Published: Firenze University Press 2016-05-01
Series:Aisthesis
Subjects:
Online Access:https://oajournals.fupress.net/index.php/aisthesis/article/view/887
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author Giacomo Fronzi
author_facet Giacomo Fronzi
author_sort Giacomo Fronzi
collection DOAJ
description In this paper, I examine the relationship between new technologies and listening, starting from a distinction between two different levels. The first concerns the role new technologies play in the “mere” reproduction and diffusion of music materials that are not necessarily classifiable in the category of the so-called “technological music”; the second concerns the listening modes unavoidably involved in the reception of a music product, due to its very nature. To this end I shall focus my attention on some elements that characterize both music production and reception: (1) historical development of the relationship between technology and music; (2) technologically mediated non-live listening; (3) technologically mediated live listening; (4) ontological oscillation in a musical work of art following its digitalization. These are issues that also bring into play aesthetics in a developmental stage of this discipline, in which a philosophical reflection on technological music may contribute to formulate – as J. Demers wrote – «a theory that acknowledges the interconnectedness of aesthetics with culture and society».
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spelling doaj.art-3d5af8e6c5ed4f0eb84c072878d0e2822022-12-21T18:42:39ZengFirenze University PressAisthesis2035-84662016-05-0191Listening to Music in the Digital EraGiacomo FronziIn this paper, I examine the relationship between new technologies and listening, starting from a distinction between two different levels. The first concerns the role new technologies play in the “mere” reproduction and diffusion of music materials that are not necessarily classifiable in the category of the so-called “technological music”; the second concerns the listening modes unavoidably involved in the reception of a music product, due to its very nature. To this end I shall focus my attention on some elements that characterize both music production and reception: (1) historical development of the relationship between technology and music; (2) technologically mediated non-live listening; (3) technologically mediated live listening; (4) ontological oscillation in a musical work of art following its digitalization. These are issues that also bring into play aesthetics in a developmental stage of this discipline, in which a philosophical reflection on technological music may contribute to formulate – as J. Demers wrote – «a theory that acknowledges the interconnectedness of aesthetics with culture and society».https://oajournals.fupress.net/index.php/aisthesis/article/view/887listeningmusic production and reproductionnew mediatechnological music
spellingShingle Giacomo Fronzi
Listening to Music in the Digital Era
Aisthesis
listening
music production and reproduction
new media
technological music
title Listening to Music in the Digital Era
title_full Listening to Music in the Digital Era
title_fullStr Listening to Music in the Digital Era
title_full_unstemmed Listening to Music in the Digital Era
title_short Listening to Music in the Digital Era
title_sort listening to music in the digital era
topic listening
music production and reproduction
new media
technological music
url https://oajournals.fupress.net/index.php/aisthesis/article/view/887
work_keys_str_mv AT giacomofronzi listeningtomusicinthedigitalera