Listening and analyzing electroacoustic music: sound analysis, gesture and communication of emotions

The topic of the last EMS Conference, if electroacoustic music is still today an experimental music, puts in light the concept of ‘experimental’ in the field of electroacoustic music under various points of view. Can electroacoustic and electronic music be considered ‘experimental’, when it is becoming a part of our daily life? In which sense can we say that this music is still today something ‘experimental’? There are some fields of music practice and music life in which the music created with technological tools is really even not well known. My contribution to the discussion will present the partial results obtained since today of an investigation on the reception of electroacoustic music conducted with people without or with less familiarity with this repertoire. In fact even professional musician and advanced music students if not specifically oriented towards electronic music, are not familiar with it. For these people electroacoustic is synonym of experimental. My goal is to bring these students and people closer to the repertoire of cultured electronic music starting from a practice to listen it and to shorten the distance between electronic and non-electronic repertoire. Edgard Varése at the beginning of the XX century replaced the word ‘music’ with ‘organised sound’, forseeing the use of new tools to make music. Today a century later, to introduce musicians and music student to electroacoustic repertoire constitutes in some cases yet an experimentation