Press Coverage: Musicological Review of Romina Daniele's Experimental Research in Amadeus

NOVEMBER 2011

Amedeus:

Experimental musical research

A significant critical contribution published in the specialized press by musicologist Rossella Spinosa. The article provides an insightful aesthetic analysis of Romina Daniele's repertoire, highlighting her balance between scientific rigor, philosophical investigation, and performative instinct within contemporary electronic music.

Below is the complete text of the review.

Critical Review from Amadeus Contemporanea

By Rossella Spinosa

"Until now, we have dedicated relatively little space to an important realm of musical research commonly and broadly categorized as 'experimental music'."

"Throughout various editions of the '5 Giornate' Festival—promoted by the Contemporary Music Center and dedicated to both contemporary classical and experimental music—I have had the opportunity to observe diverse expressive modes within experimental art. A particularly compelling figure in this field is Romina Daniele: composer, vocalist, performer, writer, and winner of the 2005 Demetrio Stratos International Award for Musical Experimentation."

"Romina Daniele's research centers on the coexistence of different languages—'to be understood as different, but not opposite, in the words of Gilles Deleuze'—with specific focus on the dynamic relationships between composition and instinct, sound and noise, construction and deconstruction, the ancient and the postmodern. Her work establishes a powerful interrelationship between established structures of thought and new articulations toward which she constantly strives. This focus on relationships is evident across every tier of her output: in poetic and narrative texts, the concept of textuality, the dimensions of musicality, extended vocality (from noise to pitch), non-extended vocality (from spoken word to lyrical singing), and electronic processing (utilizing synthetic, concrete, pure, and transformed vocal signals)."

"The trajectory outlined by Romina Daniele operates from an emancipated conception of music and performance. Working within electronic and electroacoustic music, references to genre—from the blues to the avant-garde—occur as a fluid crossing of boundaries. Simultaneously, her research focuses on sound as physical matter, exploring sound waves across frequency and time domains from both poetic and scientific perspectives. Her approach to electronic and concrete music treats the voice—like any acoustic sound or noise—as physical material to be analyzed and processed with extraordinary precision."

"Her research has yielded several notable recordings in which the voice is interpreted primarily as a direct anthropological, physiological, and linguistic medium, and only secondarily as a conventional instrument. Situated between the 'sound object' and the 'musical gesture,' her work emancipates the voice through an oscillation between language and pure sound—detaching from standard vocal styles until the voice itself becomes the ultimate sound object. It is a path rich with innovation and interest for anyone devoted to contemporary musical research." — Rossella Spinosa

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