This book is dedicated to the topic of performance practice of electroacoustic music, focusing mainly on the production of RAI’s Studio di Fonologia in Milan between the 1950s and 1970s. It is the result of an in-depth dialogue between musicology and musical practice.

Germán Toro Pérez (1964) studied composition and electroacoustic music. His catalogue includes instrumental, electroacoustic and mixed compositions, music theater and works in collaboration with graphic design, painting and experimental video. Since 2007 he is director of the Institute for Computer Music and Sound Technology and professor for composition at the Zurich University of the Arts.

Germán Toro Pérez: Historically informed performance in electroacoustic music? The Studio di Fonologia years as a case study – Ulrich Mosch: Some problems of the present-day realisation of historical electronic pieces – Angela Ida De Benedictis: The beginnings of the Studio di Fonologia Musicale and Bruno Maderna’s Notturno – Veniero Rizzardi: «There’s always just the first page». On the ambivalent relation between sound and notation in some early electroacoustic music, and the problems of modern editions – Pascal Decroupet: A question of «versions»!? Three case studies about «performing» tape compositions of the 1950s (taken from the European repertoire) – Kilian Schwoon: The revision of Henri Pousseur’s Rimes at Tempo Reale – Germán Toro Pérez: Auctorial Tradition and Contemporary Practice: Performing Musica su due dimensioni by Bruno Maderna – Alvise Vidolin: Sound direction of 1950s and 1960s tape pieces from the Studio di Fonologia – Pascal Decroupet: (Transcription and text-edition) Henri Pousseur. Three source texts concerning Rimes pour différentes sources sonores