The point of departure and the central subject of the following considerations are 'real sounds.' These are the real noises and sounds before and outside of music in both inanimate and animate nature and society, from thunder to bird calls to machine and traffic noise. The way real sounds can be understood develops and shifts throughout the history of the music, technology, and media of the 20 th century. Terms and concepts such as 'atmo'(sphere), even on the level of the industrial technical reproduction of the soundscape, lean toward the realm of noise, while 'original sound' in audiovisual montages primarily refers to the use of actually spoken words, but it can also mean all of the components of a film's soundtrack on-screen, i.e. within the depicted scene. 1 In the following, I will attempt to shed more light on the category of 'real sound' or real tones and their artistic contexts between traditional, electroacoustic, and digitalized music with somewhat novel configurations and perspectives. 1 According to Szabó-Knotik within the framework of a meticulous analysis of the film Amadeus: The usual function of music as 'background' or else as an off-screen 'counterpoint' is infrequent. "All other music is directly provoked by Salieri's narration or by the plot of the film; even when the audience rather than the stage is on screen, the operatic music functions as original sound in the sense of 'belonging to the scene.' In extreme cases, even the relationship of image and music is reversed to such an extent that the mention of music requires images that serve only to illustrate it-one could also say to 'visualize' it." Szabó-Knotik, Amadeus 30f. 7 Epstein, Sublime Noise XIIf.
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