Musical Performance as Creation (I)

NOVA Contemporary Music Journal, Volume 3, Issue I.

International Conference Proceedings



From the concert hall to the museum, from the street to private spaces, from live contexts to listening to recordings, from television to streaming systems, listening to music is today a subject that deserves our attention. Discussing music listening is crucial due to the diverse genres and sound art practices, as sound, music, and noise are omnipresent, shaping our environment and profoundly impacting our daily lives. In 2020, UNESCO recognized music’s role in cognitive development, learning, memorization, and skill acquisition. Listeners navigate a complex, saturated musical landscape with diverse streams and listening options.

Passive uniformity, reduced concentration, aversion to complexity, cultural isolation, and limited engagement shape modern music listening and our environment. Over one billion young people risk hearing loss due to loud music. How does constant sound affect our focus and listening? Can sound and music be seen as pollution? How can sound ecology address this, and what role does music play in today’s sonic landscape, impacting society?

Composers and performers are increasingly interested in listening to their own compositions and performances. In the latter half of the 20th century, space emerged as an integral musical parameter, with figures such as Stockhausen, Xenakis, Lucier, and many others contributing to this development. Today, the perceptual and cognitive potential of music pieces represents a new frontier for exploration. To what extent does listening influence the creative process? Can new listening modalities enhance our approach to historical music?

In a performative context, new listening situations are on the rise. Audiences and performers are actively engaged in innovative auditory experiences, including multimodal, virtual, and immersive encounters. How do these listening modalities influence the appreciation of a musical piece? To what extent is the listening process influenced or restricted by the context in which it occurs? What role does music listening play in settings like museum exhibitions, sound installations, or sound art events? What are the purposes and potentials of music listening in public and open spaces?

Volume title: Musical Performance as Creation
Journal Title: Nova Contemporary Music Journal
Volume: 3
Issue: I
Publication date: 2023 Publisher: Centro de Estudos de Sociologia e Estética Musical(CESEM),
Faculdade de Ciências Sociais e Humanas, Universidade NOVA de Lisboa ISSN 2795-4803 DOI: Editorial board: Isabel Pires, CESEM, Universidade Nova de Lisboa (Main coordinator)
ORCID; CienciaVitae Filipa Magalhães, CESEM, Universidade Nova de Lisboa - ORCID; CienciaVitae Riccardo Wanke, CESEM, Universidade Nova de Lisboa - ORCID;
CienciaVitae Quote as: Pires, I., Magalhães, F., & Wanke, R. (Eds.). (2023). Musical Performance as Creation; Nova Contemporary Music Journal (Vol. 3, Issue I).
Centro de Estudos de Sociologia e Estética Musical, Lisbon. ISSN 2795-4803. DOI:

This publication was supported by CESEM – Centro de Estudos de Sociologia e Estética Musical da NOVA FCSH, funded by national funds through Fundação para a Ciência e a Tecnologia, I.P., within the scope of projects UID/EAT/00693/2013; UID/EAT/00693/2019 and UIDB/00693/2020.

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