Gianmario Borio is Professor of Musicology at the University of Pavia and Director of the Institute of Music at the Fondazione Giorgio Cini, Venice.

Part 1 Facets of a Theoretical Question 1.Aesthetic Experience Under the Aegis of Technology. 2. Ideological, Social and Perceptual Factors in Live andRecorded Music. 3. On the Evolution of Private Record Collections:A Short Story. 4. Music and Technical Reproducibility: A Paradigm Shift. 5. Algorithmic and Nostalgic Listening: Post-subjectiveImplications of Computational and Empirical Research. 6. Listening to Histories of Listening: CollaborativeExperiments in Acoustemology with Nii Otoo Annan. Part 2 Remediations 7. Remediation or Opera on Screen? Some MisunderstandingsRegarding Recent Research. 8. Between Mediatization and Live Performance: The Music forGiorgio Strehler's The Tempest (1978). 9. The 'Remediated' Rite of Spring. Part 3 Listening with Images 10. Listening to Images: A Historical Overview ofTheoretical Reflection. 11.Seeing Sounds, Hearing Images: Listening Outside theModernist Box. 12. The Transformation of Musical Listening:The Case of Electroacoustic Music. Part 4 Recordings and the New Aura 13. Neo-auratic Encoding: Phenomenological Framework andOperational Patterns. 14.'If a Song Could Get Me You': Analysis and the(Pop) Listener's Perspective. [...] Persistence of Analogue. Part 5 Composing and Performing with Electronic Means 16.Semiconducting: Making Music after the Transistor. 17.'Live is Dead?': Some Remarks about Live ElectronicsPractice and Listening. [...] Imprints: Instrumental Resynthesis inContemporary Composition. Part 6 Audiovisual Documentation in Ethnomusicological Research [...] Trends in the Use of Audiovisual (and Audio)Technology in Contemporary Et