Musica/Tecnologia <p class="Body">Since the discovery of electricity music and technology became strictly related, but even before that something kept these two disciplines together. The journal examines the various links and relations between the two trying to comprehend and explain the productive mechanism of music.&nbsp;</p> <p class="Body">Solo dopo l’avvento dell’elettricità e delle sue applicazioni strumentali il rapporto fra musica e tecnologia è divenuto del tutto presente a coloro che operano nell’ambito musicale. Eppure la musica ha sempre avuto una dimensione tecnologica.&nbsp;<em>Musica/Tecnologia</em>&nbsp;tenta di esplorare questa dimensione, nella consapevolezza che i rapporti tra mondo musicale e mondo tecnologico spesso non sono lineari, bensì caratterizzati da sfasamenti cronologici e ambientali. L’urgenza a cui la rivista tenta di rispondere è quella di comprendere i meccanismi produttivi in cui la musica si inserisce, e di intraprendere una riflessione che consenta di non esserne inconsapevolmente sopraffatti.</p> Firenze University Press en-US Musica/Tecnologia 1974-0042 <p>Authors retain the copyright and grant the journal right of first publication with the work simultaneously licensed under a <strong>Creative Commons Attribution 4.0 International Public License (<a href="">CC-BY-4.0</a>)</strong>&nbsp;that allows others to share the work with an acknowledgment of the work's authorship and initial publication.</p> <p><a href="" rel="license"><img src="" alt="Creative Commons License"></a><br>This work is licensed under a <a href="" rel="license">Creative Commons Attribution 4.0 International License</a></p> Questo numero – Punti di ascolto <p>.</p> Paolo Zavagna Copyright (c) 2020 Paolo Zavagna 2020-12-08 2020-12-08 5 7 10.13128/music_tec-12343 Encounters in the Republic of Heaven <p>The composition of the 8-channel electro-acoustic work <em>Encounters in the Republic of Heaven</em> is discussed in some detail; how the initial poetic and technical impetus for the work led to the defining and creation of an appropriate form to combine storytelling and sonic organisation;<span class="Apple-converted-space">&nbsp; </span>the problems and practicalities of recording, selecting and editing appropriate source materials; and the sound-processing and musical organisation of the materials.</p> Trevor Wishart Copyright (c) 2020 Trevor Wishart 2020-12-08 2020-12-08 9 33 Ascolti mediati: aspetti del rapporto tra mondo della tecnica e paesaggio sonoro <p class="p1">The paper attempts to look at the, partly conflicting, relations between the technical world and the new sensitivity toward the sounds of everyday life. The possibility of storing these sounds and making them available without limits of space and time has greatly increased the possibility of studying and using them but, perhaps, has also made us less aware of central aspects of the soundscape, i.e. that it is highly variable and rarely repeats itself. In the last part of the paper some artistic works are examined in which everyday sounds play various roles.</p> Albert Mayr Copyright (c) 2020 Albert Mayr 2020-12-08 2020-12-08 35 48 10.13128/music_tec-12346 En Plein Ear. Sonic postcards from a busy summer <p class="p1">This article examines the realization of a piece for 17 instruments (small orchestra with divided strings) and electronics and illustrates: the context of conception; the methodological, cultural, aesthetic setting; the compositional techniques and the development of form; sound analysis and processing within composition and performance. Particular attention is given to the scope of listening and to the resources of sound and music computing. From the aesthetic and cultural point of view, the work is placed in the field of soundscape and auditory culture.</p> Giorgio Klauer Copyright (c) 2020 Giorgio Klauer 2020-12-08 2020-12-08 49 72 10.13128/music_tec-12347 Listen, record, stream, diffuse, listen. The technological approach to soundscapes by Bill Fontana <p class="p1">This essay aims to demonstrate the work of Bill Fontana in the realm of sound art practice; both in regards to his considerable contribution to the art form, and as a pioneer of the use of sonic transmission technology. With regard to the technology and the changes between the configuration of his original historical works and the technological development, three fields of his activity are investigated: recording, real time streaming, diffusion systems. The recording technique will be treated to show the coherence in his artistic practice, the real time streaming will explain his innovative approach to sound technology, the diffusion systems will be described in relation to his technical choices and to his large scale works.</p> Roberta Busechian Copyright (c) 2020 Roberta Busechian 2020-12-08 2020-12-08 73 90 10.13128/music_tec-12348 Abstracts <p>.</p> AAVV AAVV Copyright (c) 2020 2020-12-08 2020-12-08 91 92 10.13128/music_tec-12350 Biographies <p>.</p> AAVV AAVV Copyright (c) 2020 2020-12-08 2020-12-08 93 94 10.13128/music_tec-12349