Archives Progetti

Duration: 17:23
Sound diffusion: 4th order ambisonics, octophonic, stereo (binaural) fixed media

Duration: 8:38
Sound diffusion: 4th order ambisonics / binaural fixed media

PNX is an ambisonic acousmatic composition made using only accordion samples. No signal manipulation or synthesis techniques have been used to modify the concrete starting material, except for sound editing techniques. The sampling process and the organization of the material were based on an equal relationship between the traditional sound of the accordion and the noisy components of the instrument mechanics, investigating the very first timbral expression on the borderline between breath and the exact origin of the sound, uniting them in a single sound stream. A process of osmosis, a breath that originates from a central space and develops tension towards an external one, defining a listening perspective inside the acoustic instrument as a living space. PNX is the acronym of “pneumothorax”, a traumatic lung compression that distorts the relationship between the inner and outer pressure, and suggests a parallel with a mechanical investigation, a form of diagnostic examination, exploring all the potential of the instrument. The acoustic space is then defined through the alteration of the mechanical principle underlying the breath of the accordion bellows, building a new dimension according to the assumption of a very close listening point of view to reconstruct an ideal space of timbral exploration.

Duration: 6:10
Sound diffusion: stereo fixed media

Parallaxe.Parataxe is an acousmatic composition that investigates syntactic construction through the juxtaposition of sonic moments in which the different synthesis processes used create pathways that shift in the timbral, spatial and spectral range. Thus the musical processes constantly change the point of view of the sound objects, creating an acoustic equivalent of the parallax phenomenon through their relationship to the artificial sound background that arises from the projection of the properties of the foreground figures and their timbral permutation. This was achieved by using different synthesis methods (resynthesis, physical modeling and granular synthesis) applied to different field recordings and concrete sound objects, identifying musical elements in the aural complexity of the materials to create the overall form.

Duration: 8'55''
Sound diffusion: quadriphonic fixed media

The piece is inspired by the the sculpture "The Broken Circle” by Beverly Pepper, an element of land art in the city of Brufa, in Umbria (Italy).

b_k_n( ) intends to restore the representation of a generating force, of an explosive event that produces the beginning of life and of the world, in a timbrical and structural dimension where the contrast between stillness and dynamism creates a formal balance poised between possibility and impossibility. The overall circular trend, from which sound structures emerge that offer as many interrupted paths of ascent and descent, interprets the materiality of the original work and its conflictual contrast with the landscape, reading it from different distances and according to different angles. The timbrical research aims to recall the materials used for sculpture (mainly steel and concrete), with the preparation of traditional instruments as violin and an electric bass guitar, to generate sound materials to feed many electronic synthesis processes (granular synthesis, re-synthesis and physical modeling) used to build the piece.
The result is a work that associates the materiality of sound and the use of residual timbres as citation s of the associated collective ancestral memory to the universal shape of the circle.