Introduction

During the last century, various currents of experimental music progressively moved toward a more explicit interest to sound and its characteristics: some scholars refer about a timbre's evolution to the exploration of sound (Bériachvili 2008, Solomos 2013). Starting from the mid-twentieth century, several musical elements (e.g. non-teleological perspectives, the fusion of electronic/acoustic/concrete sounds, the extended use of sound spectra) were simultaneously developed across distant genres of music.

On the one hand, spectral and electronic exploration of sound acted as a sort of springboard for the development of new musical styles, namely in the electroacoustic music (Griffiths 2010). On the other hand, during the 80s' (and 90s') we witness an on-going process of constant and discrete refinements of many genres of popular and alternative music towards more advanced and sophisticated forms, e.g. noise, industrial, IDM2 among others (Cox and Warner 2007; Solomos 2013).

Nowadays, the two sides of this musical scenario proceed differently achieving comparable results and a shared desire Ito] create works that seek to engage the listener in a stimulating listening experience' (Weale 2005: 30).

Nevertheless a cross-genre outlook able to recognize and analyse analogous models among compositions coming from unrelated musical fields is currently a hot topic among scholars (Emmerson and Landy 2012).^3.24 This paper would contribute to this subject developing a new strategy to approach such a diverse musical material in order to recognize similar musical elements, parallel uses and analogous practices among different genres of today's music.

Footnotes

... 2012).^3.24

e.g. the collaboration of R. Sakamoto and Alva Noto with Ensemble Moderne; Berhard Lang and Philip Jeck; or R. Nova, A. Ingolfsson, Y. Maresz, G. Verrando and PanSonic both with AlterEgo ensemble; the work of Zeitkratzer and Ictus Ensembles; and the London Festival (http://lcmf.co.uld), see also (Emmerson 2007: 64 footnote 8).