Dufay's Mootet Nuper Rosarum Flores

In the unpredictable space between work intention and art experience, between the concept and its perception, the creative practice becomes a mediator that support the identification of the path between the two different realities.
A picture behind creating a musical work might be representing feelings, material objects or even a real or an abstract image. A relative example might be the Guillaume Dufay’s motet Nuper Rosarum Flores. This was composed in honour to the new cathedral Santa Maria del Fiore in Florence in 1436. An interesting element of the piece is that its metric structure is based on the proportions of the cathedral. The citation above shows us that a soundscape is something higher than some sounds put together for listening pleasure. Its entity involves a broad range of characteristics such as an abstraction, preliminary study and a meaningful outcome. This aim to communicate to the audience or whoever is hearing the piece that there is a relation between the sounds and some sort of form that can be material, ideal or social. These aspects can lead the listener to an
Experimental music sometimes can introduce chaos and questions about the borders of comprehensibility. As such, the consequences of the audible feedback to the piece can cause disorientation for the listeners. By using a various number of archetypes behind the developing process, composers and/or producers can consciously be aware of an established aesthetic position. The human mechanisms governing cognition constantly demand these archetypes in order to prevent us to getting lost in the chaos. Upon hearing a soundscape, the listeners are suggested to eventually read the initial description. This could then help them to find a relatively clear relation between the assumptions, the idea behind the project and what they perceive while they are hearing