This term was introduced by Denis Smalley to describe a listening mode amongst those with expertise in electroacoustic techniques. It is rooted in an aesthetic orientation that technology should ideally have a transparency in electroacoustic music making and listening. Implicit in the term is the danger that composers and musicians become divorced from the musical experiences of non-experts. The more informal term recipe listening is sometimes used.

Technological listening occurs when a listener 'perceives' the technology or technique behind the music rather than the music itself, perhaps to such an extent that true musical meaning is blocked. (Source - Denis Smalley (1997). Spectromorphology: Explaining Sound-shapes. Organised Sound Vol. 2, No. 2. Cambridge: Cambridge University Press.)

Ce terme a été introduit par Denis Smalley afin de décrire un mode d'écoute privilégiant les techniques électroacoustiques. Ainsi, il désigne une esthétique de la musique électroacoustique dans laquelle la technologie transparaît à travers la production et lors de l'écoute. De plus, ce terme sous-entend aussi que les compositeurs et les musiciens puissent êtres coupés des expériences musicales des auditeurs. Un terme moins formel traduisant les expériences d'écoute est parfois utilisé.

Le terme écoute technologique est employé lorsque l'auditeur, au lieu de percevoir la musique, perçoit une technologie ou une technique derrière celle-ci, et ceci peut aller jusqu'à ce que la véritable signification musicale soit masquée. (Source - Denis Smalley (1997). "Spectromorphology: Explaining Sound-shapes". Organised Sound Vol. 2, No. 2. Cambridge: Cambridge University Press.)

Termine introdotto da Denis Smalley per descrivere una modalità di ascolto che privilegia la conoscenza delle tecniche elettroacustiche. Designa un'estetica della musica elettroacustica nella quale la tecnologia dovrebbe trasparire dalla produzione e dall'ascolto. Implicito vi è il rischio da parte del compositore e del musicista di separarsi dall'esperienza musicale dei non esperti. Spesso viene usato un termine meno formale, recipe listening.

Il termine Ascolto tecnologico vene usato quando l'ascoltatore, al posto di percepire la musica, percepisce una tecnologia o una tecnica che le sta dietro, ciò che può giungere anche al mascheramento del vero significato musicale (Fonte - Denis Smalley (1997). Spectromorphology: Explaining Sound-shapes. Organised Sound Vol. 2, No. 2. Cambridge: Cambridge University Press.).

This term was introduced by Denis Smalley to describe a listening mode amongst those with expertise in electroacoustic techniques. It is rooted in an aesthetic orientation that technology should ideally have a transparency in electroacoustic music making and listening. Implicit in the term is the danger that composers and musicians become divorced from the musical experiences of non-experts. The more informal term recipe listening is sometimes used.

Technological listening occurs when a listener 'perceives' the technology or technique behind the music rather than the music itself, perhaps to such an extent that true musical meaning is blocked. (Source - Denis Smalley (1997). Spectromorphology: Explaining Sound-shapes. Organised Sound Vol. 2, No. 2. Cambridge: Cambridge University Press.)

Este término fue propuesto por Denis Smalley para describir un modo de escucha entre aquellos con conocimiento y experiencia en las técnicas electroacústicas. Surge a partir de una orientación estética en la que la tecnología debería ser, idealmente, transparente para la creación y escucha de la música electroacústica. El término lleva implícito el peligro de que los compositores y los músicos se divorcien de las experiencias musicales de los inexpertos. A veces es utilizado un término más informal: recipe listening (escucha de la receta).

La escucha tecnológica ocurre cuando el oyente "percibe" a la tecnología o la técnica detrás de la música más que a la música misma, quizás a tal extremo que el verdadero significado musical queda anulado.

(Fuente: Denis Smalley (1997). Spectromorphology: Explaining Sound-shapes. Organised Sound Vol. 2, No. 2. Cambridge: Cambridge University Press)