The title of this paper may seem over-ambitious and particularly broad in relation to its potential scope. What I will try to do then is to put in order some of the issues raised by the words in the title, namely the relationship between aesthetic experience and contemporary music (which refers to the theme of the aesthetic experience of – and with – contemporary music) and its “places”, understood as the contexts in which that experience tends to manifest itself and through which mediums. It is not a question of formulating a sort of “topology” of contemporary music, but rather of verifying whether there has been, particularly with the introduction into the world of music of new technological and digital means, a shift or an overlap of different places of use.
Aesthetic Experience and Contemporary Music: From Places to Non-Places
Fronzi giacomo
2020-01-01
Abstract
The title of this paper may seem over-ambitious and particularly broad in relation to its potential scope. What I will try to do then is to put in order some of the issues raised by the words in the title, namely the relationship between aesthetic experience and contemporary music (which refers to the theme of the aesthetic experience of – and with – contemporary music) and its “places”, understood as the contexts in which that experience tends to manifest itself and through which mediums. It is not a question of formulating a sort of “topology” of contemporary music, but rather of verifying whether there has been, particularly with the introduction into the world of music of new technological and digital means, a shift or an overlap of different places of use.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
