摘要：Electroacoustic music with its technological nature dictates a rethinking of traditional categories in music publishing. Concepts such as “work”, “author”, “instrument”, “performer”, even the very idea of “writing”, all change and must be reconsidered alongside the medium, the carrier. The work I’ve being doing as a music publisher puts me in the position to choose among different solutions, in the attempt to reproduce and guarantee this interesting complexity. On the other hand, I also intend to introduce an order in this complexity, with the aim to salvage every single process of development, protection and valorisation of the works we are publishing. In my article I focus on the principles I’m following in my work, not so much to “domesticate” musical ideas into a fixed standard, but to free every work from its particularism – especially from the dependence from technological devices and specific human agents (performers, collaborators). In the last part I discuss the work we are doing to publish a new, more efficient score of Prometeo. Tragedia dell’ascolto (1981-1985) by Luigi Nono.
