The Role of the Listener in the Reconfiguration of the Sonic Experience
DOI:
https://doi.org/10.26807/cav.v10i19.623Keywords:
Operator-listener, contemporary music, musical semiotic, avant-garde, musical significationAbstract
The figure of the contemporary listener has undergone a profound transformation, shifting from a passive receptor to an active participant in the construction of musical meaning. This paper introduces the notion of the listener-operator, an extension of Adorno’s ideal types, to examine how listening has evolved towards more interpretative and participatory forms. Key moments in this process are analyzed, tracing the redefinition between music and audience —from groundbreaking artistic practices to contemporary approaches that emphasize the listener's creative role. The transformation of auditory experience is explored as a phenomenon that places the listener at the core of meaning-making, demonstrating that the disappearance of traditional codes is not a limitation but an opportunity to explore new modes of engagement with music.
Downloads
References
Adorno, T. (2009). Introducción a la sociología de la música. Akal.
Amaya, H. (2021). La obra de arte en la época de su reproducción digital. Sincronía, 26(81), 1-XX. https://doi.org/10.32870/sincronia.axxvi.n81
Amaya Velasco, H. O. (2024). De la tecnología digital del cuerpo: Un diagnóstico de lo virtual. Universidad Autónoma de Sinaloa.
Attali, J. (1995). Ruidos: Ensayo sobre la economía política de la música. Siglo XXI.
Benjamin, W. (2019). La obra de arte en la época de su reproducibilidad técnica. Feltrinelli.
Fessel, P. (2012-2013). Prometeo de Luigi Nono: La idea de una música inaudita. Revista Teatro, 33(117), 18-25. https://ri.conicet.gov.ar/handle/11336/105782?show=full
Fubini, E. (1999). El romanticismo, entre música y filosofía. Alianza.
Markusen, A., & Brown, A. (2014). From audience to participants: New thinking for the performing arts. Análise Social, 49(213), 866-883. http://www.jstor.org/stable/43234394
McLuhan, M. (1964). El medio es el mensaje. Mentor.
McNabb, D. (2018). Hombre, signo y cosmos: La filosofía de Charles S. Peirce. Fondo de Cultura Económica.
Olson, M. (2014). Arte postinternet. COCOM.
Savonardo, L. (2010). Sociologia della musica: La costruzione sociale del suono dalle tribù al digitale. UTET.
Vergni, D. (2015). Tra rito e meditazione per un’azione interiore nel teatro musicale. Sciami. https://nuovoteatromadeinitaly.sciami.com/domenico-guaccero-rappresentazione-et-esercizio-1968/domenico-guaccero-descrizione-rappresentazione-et-esercizio-vergni-2018/
Wang, J. (2016). Affective listening as a mode of coexistence: The case of China’s sound practice. Representations, 136, 112–131. https://www.jstor.org/stable/26420581
Published
How to Cite
Issue
Section
License
Copyright (c) 2025 Marco Giusto

This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
Index, revista de arte contemporáneo maneja sus derechos bajo licencia Creative Commons Reconocimiento-NoComercial 4.0. En ese sentido los envíos quedan sujetos a la decisión del autor.