Amedeus: the Experimental musical research

NOVEMBER 2011

Amedeus:

The Experimental musical research

Rossella Spinosa's article on Amedeus Contemporanea.

Until now we have dealt just a little with an important area of musical research, usually and generically defined as "experimental music".

During the various editions of the Festival "5 Giornate", promoted by the Centro Musica Contemporanea and dedicated, as many will know, to both contemporary classical music and experimental music, I had the opportunity to listen to and test different expressive modes of so-called experimental art. A particularly interesting figure in the field of research that I had the opportunity to listen to is that of Romina Daniele, composer, vocalist, performer and writer, winner of the 2005 Demetrio Stratos International Prize for Musical Experimentation. Romina Daniele's research is focused on the coexistence between different languages, "to be understood as "different but not opposite", in the words of Gilles Deleuze", with specific attention aimed at the relationships: between composition and instinct, sound and noise, construction and deconstruction, ancient and post-modern and a strong interrelationship between the known structures of thought and new senses and new articulations of thought itself towards which we constantly tend. The apprehensive interest in relationships is detectable at all levels of her research: text, poetic and narrative, concept of textuality, music and dimensions of musicality; extended vocality, from noise to sound, and not extended from the reciter to the lyric; electronic, with synthetic and/or concrete sounds and/or pure and/or transformed vocals.

The path that Romina Daniele outlines is thus focused on the one hand on an emancipated conception of music and performance, in which - operating in the field of electronic and electroacoustic music - the reference to genres, from blues to contemporary, takes place in a territory of crossing and indifferentiation and, at the same time, the research focuses on sound and the composition of sound matter, in vocality as in electronic music in the studio, as well as on the exploration of sound waves in the domains of frequency and time, in both poetic and scientific terms . The perspective in which Romina moves in the field of electronic and concrete music requires vocality itself, like every sound or noise, to be analyzed and processed with an effectiveness that would otherwise be undesirable.

Her research has led to the creation of some interesting record productions, in which the voice is read as the main and direct means of expression, firstly from anthropological, physiological and linguistic points of view and, only secondarily, as a musical instrument. In the context of the study of sound, between the concepts of "sonic object" and "musical gesture" and between music and the technological arts, the emancipation of the voice occurs in the oscillation between language and the concept and styles of singing , and the detachment from the language and singing styles, to the point of becoming pure material and sound object par excellence. Definitely a path full of news and interest for every research enthusiast.