3.1 THE WINDOW FORM
In his book Le figure della musica, Salvatore Sciarrino addresses the need to outline some main concepts on which contemporary music - as well as historical music from which it derives - is based.
3.4 THE ROLE OF NOTATION
The process of grasping and understanding the differences in quality and proxemics of piezo sounds is a long process which relies on auditory skills of memorization.
If we understand the act of composing as an active and imaginative form of listening, a composed work is meant to be understood as a proposal for a possible listening experience. In outlining this listening experience, the composer chooses how to organize sound material. The result of her compositional process is usually defined in the final formal structure of the piece, i.e. in the shape that the sound material assumes inside the temporal dimension of the music experience. During my research project, I have been deeply interested in trying to understand how the compositional process develops starting from the instrumental sound matter, and which kinds of relationships happen between the sound material and its organization in a determined form.
3.2 WHAT'S IN THE FRAME
Working with piezos challenged my usual compositional approach. A stethoscopic use of this technology on traditional acoustic instruments provokes a new way of listening to the sound matter...
3.5 THE ROLE OF MEMORY IN STORING, ANTICIPATING AND ARCHIVING
As a general and basic premise I tend to understand composition as a discipline of 'organizing sound', as has been suggested by Varèse
3.3 PROXIMITY OF SOUND
An ecological acoustic perspective also takes into account all the information about how the sound is perceived in the environmental space...