Resumen de De l'auditeur expert d’Adorno au participant d'improvisation: questions sur des cultures d'audition
Would it be possible to familiarize the public with the procedures and techniques of contemporary music, including the genres related to jazz and other improvised music? Secondly, how to ensure that the knowledge of these forms of music would generate an appropriate reception? Based on these questions, the article aims to analyze some aspects of the “listening cultures” from the perspective of, among others, Adorno’s sociology of music, Peter Szendy’s history of our ears and the general participation of the public on the improvisation workshops. The moment of a listener’s improvisation would, therefore, be similar to a dialogue between “listening cultures” which, as such, would be conducted through a “trial and error” procedure. Therefore, improvisation workshops can be thought of as a special way to relate to music cultures, and the listener’s participation would connect music production to reception in an inclusive and unique manner.
Keywords. Musical improvisation, Free improvisation, Improvisation workshop, Jazz, Contemporary music, Reception theory, Listening culture.
