Background

In our time, it is a regular occurrence, when walking outside in the city or in the country, to hear sounds or music mixed together with the noises of the surrounding environment or with other sounds. These events create something different from a simple musical work. We can rather speak of sound situations, of soundscapes and even of musical works, but not in the classical sense of `work' as a set and defined event.

In every age there have been musical performances created for outdoor performances: square dances, theatre shows with music, entertainment in the gardens and royal parks, music used to accompany fireworks, games etc. They were all events that enriched the landscape and could be listened to carefully as an accomplished composition or simply as background sounds that were going to complete a series of more complex events. With the increased evolution of technology, the conception of musical work has gradually changed. It has become even more a sound event participant in other aspects of artistic expressions. Installations, soundscapes, are all events not only to be heard, but also associated with other aspects of perception. There are also works conceived at an earlier time that have been transformed by technology and are still relevant.

An example of this is represented by Stockhausen's Solo for a melodic instrument and electronics, a composition of 1966, an early time in the history of electroacoustic music. It was performed in the '60s with analogic techniques, subsequently with digital ones and now there are different experiences coming up to make from this composition even a soundscape.