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INTERNATIONAL SYMPOSIUM ON SOUNDSCAPE


Tempo Reale - Villa Strozzi - Via Pisana 77 50143 Firenze
Scientific & Music Program May 20-22 2011

CONFERENCE

abstract

Ivana Miladinovic PRICA A new era of (music) listening - from soundless to noisy environment

In this paper I would like to reconsider approaches to the subject of listening within different philosophical and aesthetic frameworks. Although the world is still mostly conceived of as a visual reality, many philosophers such as Aristotle and Heidegger have tended to privilege aural over visual experience. The physical configuration of the ear was also significant for them. According to Derrida, Nietzsche and Bataille, the ear could be understood as a labyrinth (the spiraling canals of the inner ear) and a vibrating membrane (the tympanum or middle ear), which produced delay and distancing. Like other organs opening to the world, it problematized the distinction between inner and outer. The ear is, by nature, always open, for we need sense of hearing even when asleep. The eye can select or seek, while ear is affected, and can only wait...
In the historical development of music, auditive practices changed and the acoustic environment treated as soundless or filled with sound. By abandoning the autonomy of music (intentionally created sound) in favor of the aestheticization of a sample of ambient sound in his work 4’33’’, John Cage destroyed the selective elements of music and managed to realize his notion that silence is actually the noise of the body and the noise of the social body. After Cage's outcry New Ears for New Music and the call for the anarchic emancipations of listeners, the recording technologies today blurring of the edges between music and environmental sounds and preparing the way for a new era of listening.
In the field of contemporary experimental music in the past years various interesting projects emerged that have directly addressed the questions of use of recorded environmental sounds as compositional material. One of them is “Sonic postcards – Somewhere from Southeastern Europe”, project initiated by Goethe-Institut Belgrade, Chinch initiative for contemporary music, Radio Belgrade and Deutschlandradio Kultur in 2009, that would be examined. As a form of an announcement, German multimedia artist Thomas Köner send his own sonic postcard from Hamburg, so that artists from Serbia were invited to create soundscape miniatures inspired by authentic Balkan sounds taken from their surroundings. This paper will analyze and contextualize different examples of these compositions in order to show sonic representations of the natural and human environment of Balkan which testify about the acoustic pollution, as well as wide range of expressive features contained in them.

Ivana Miladinović Prica (1979), assistant in the field of musicology at the Department of Musicology of the Faculty of Music, University of Arts in Belgrade. Also, she works as a music editor and critic at the Channel Three of Radio Belgrade. Currently, she is attending the third year of PhD studies of musicology at the Faculty of Music, University of Arts in Belgrade. Her dissertation explores American experimental music and their effects on the field of contemporary theory and arts. She has published papers in national and international magazines (New sound, Treći program, Muzički talas), and participated in several international conferences. Her scientific attention is mainly focused at the contemporary music and artistic achievements.



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