After finding a satisfactory definition of noise by comparing it to a contingency, yet still remains an essential question to answer is: What makes music different from the experience of the Environmental noise that we have every day? The noise, as we have seen, is not something only to the extent of the composers but something that is already starting in nature, of which each man has experience conducting numerous activities in the world around them. So we might ask: who has the approach to noise music is different nell'environmental dall'approccio you have toward the sound in everyday life? To answer this question not only must use the definition of noise as a contingency but also for the first time focus on the mental mechanisms that man puts into action by interacting with the noise. As can be said that strictly speaking the Environmental field recordings and music both rely on the experience that comes in first in listening noises, which has experienced a sharp phenomenological character. It 'important to understand that with this particular phenomenological experience of listening does not mean only the experience of users of music, but also that of the authors, a particular feature is that the Environmental music experience of the user at the time of listening and those of the author at the time of creation of the work are very similar, although with a crucial difference that we will see. Before considering this point analyze the general steps in which splits in the mental experience of hearing a noise. They are three: perception, verification and location. The first is simply the perception of a beep, then the contact between the brain, ears and the sound waves. To understand the second is worth returning to the idea of \u200b\u200bnoise as a contingency: it consists in a method to test the proposition that the noise is, and then in the method that is acquired metasuono to find the cause of the sound object. The last phase, location, is essentially a verification implement and fully managed: localize a noise if we identify the environment that caused it. The phenomenological experience that we as viewers we live in listening to the sounds of a 'work environment-music differs from that which we can live on hearing the noises of daily because of the location: while we can locate a sound standing in the street or in the park, we can not do this while listening to a 'work of Environmental music. In fact, in the second case, the noise will be presented to us out of the context that caused them, and then our experience will stop at the level of verification. This same fundamental difference lies between the phenomenological experience of the 'author and recipient of the Environmental music: one can locate the sound object, the second not.
I would like particularly to point out one last point: do not reach the level of localization in the experience of listening does not mean it had no information from the noise on the world around us. It means rather not be completely sure how to interpret the information that gives us. With the level of verification we already have an idea of \u200b\u200bthe environment that is subject to sound, even though we have not verified yet if this idea is true or false.
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