The deliberately heard and accepted acoustic productions that form the so-called 'soundscape' undergo continual redefinition by a group of techniques commonly referred to as 'reproduction'. In reality, at our current degree of sound communications, 'production' and reproduction' tend to be equivalent.
This is the basis of the research for which 'AAA/TAC' intends to create various disciplinary vectors, with the prospect of a musicology freed from the fetish of textuality and careful to focus on process, taking the point of view of a 'science of communication', while maintaining a close dialogue with aesthetics.
Addressing historical investigation while highlighting the present also means developing a critical program for redefìning repertory. The apparently neutral ideas of acoustic art and artifact will facilitate a better understanding of the myriad consequences of the irreversible entrance of every piece of music into the reproduction circuit. This must be considered in relation to stimulating the transformations induced by adapting to material support and constantly-changing production and distribution techniques, thus leading to an increasingly significant parallel orientation towards forms of 'technological orality ' in artistic productions as well as those aimed at mass consumption. Productively speaking, this phenomenon often blurs distinctions between art and artifact.
On the other hand, the subject of acoustic artifacts - either autonomous or dependent on visual correlations - is much more comprehensive than that of the traditional idea of music. Consider, for example, the variation in meaning of the phrase 'electronic music', which once described a musical specialisation associated with the avant-garde and today tends to be used in the context of very different productive conditions, especially in the area of entertainment. We might also consider productions that materially or ideally continue to be aimed specifically at radio listening, but are conditioned by the rapid and unceasing transformation of the processes of radio reception. In order to address these and other topics, the Giorgio Cini Institute of Music has created 'AAA/TAC', an annual journal aimed at investigating acoustic art and artifacts from an original and as yet unpublished point of view, with a special focus on aspects of technology, aesthetics and communication.

CONTENTS

I.
Giordano Ferrari, La conchiglia di Pierre Schaeffer

Vincent Tiffon, Regard médiologique sur l’art radiophonique de Yann Paranthoën

Carlo Piccardi, Breve Storia di una Radio-Musica


II.
Maurizio Agamennone, Acustiche naturali, echi e simboli culturali

Riccardo Carnesecchi, 'Minuetto alla Viganò': the perception of Music as it Flows

Giorgio Biancorosso, Beginning Credits and Beyond … Music and the Cinematic Imagination

Janice L. Franklin, Video Game Audio: Music?

Luigia Mossini Minardi, Schmetterlinge einer fernen Insel

Information
e-mail: ufficio.editoriale@cini.it