Against all expectations
This editorial presents both the objectives of the review L'inouï and the content of this first edition.
The unheard is a paradoxical notion. The unheard, it could be claimed, is both non-existent (in the sense that we can only be affected by that which is recognizable) and omnipresent (since we can only understand that which initially surprises or affects us). In musical terms, this raises a practical question: how can we produce the unheard if it cannot be programmed into the composition of a work or take place in any definite way during listening? It becomes necessary then, to clarify the conditions of our listening and its effects, and to provide it with tools to enhance practices of repetition and variation, open to the unexpected.