L’opera musicale fra oralità, scrittura e fonografia

Abstract

Technical reproducibility and recording have had important consequences on the production of musical works. The ontological identity and aesthetic functioning of the latter are explained in this article in the light of three main ways of organisation of musical cultures: oral, written, and phonographic. A solution to the difficulties and the conceptual conflicts arising from their overlap is identified in the analysis of the contexts of production and reception of the different devices.