Diffrazioni Sonore: Recording, Compositional Project & New Technologies

DISCOGRAPHY / ALBUMS

Diffrazioni

Sonore

"DEMETRIO STRATOS" AWARD 2005

TOTAL TIME: 33:08.

1. Intro Intelligibile (2:24)

2. Vero (3:04)

3. Altàmere (5:26)

4. Differisco I (2:37)

5. Differisco II (2:11)

6. Di-Sonore (6:06)

7. Zeendiddò (3:36)

8. Rizhome (7:52)

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Diffrazioni Sonore is the recording and compositional project focused on the relationship between improvisation by extended techniques and new technologies, with which Romina Daniele has been awarded with the Demetrio Stratos International Award for musical experimentation, 2005 New Project edition, theme: vocalism and research.

The current repertory includes a live readjustment of the track Intro (Intellegibile), as shown by the following live VIDEOS.

«An introduction: the work by Romina Daniele can be placed in the avant-garde. And a prayer: listening keeping away every preconceived ideas, any pre-established music rule, its common meanings, structures, constitutive elements. Now we're ready to listen to "Diffrazioni Sonore" (...) The realization of this project, supported by a strong philosophy (which is the Manifesto of the work) is free from all the common processes as well (...) Works like this obviously arise more questions than assertions: where is the line that separates the experimentation and the ultimate result?»

(Luca Rapetti, Blogbuster)

«The Daniele's working method consists into record totally free vocal improvisations - singing, reciting, screaming and vocalism in a broad sense - that are successively edited in complex set-compositions. It is a contemporary concept of the composition process, in which the writing is not on the paper but on the take, or the hard-disk; it involvs anyway an arrangement and adjustment work as classical technique of composition does.»

(Alberto Carozzi Sands-zine)

>> Collected Reviews >> Videos >> Theoretical Line Text (booklet inside)

Video Previews

My project is the result of a vocal research that takes place through the unbridled improvisation; it follows the composition that, on the contrary, take place through an accurate assembling: I consider it like a work and I do it by myself. "Diffrazioni Sonore" was born as a reflection about the "transverse by nature concept": the research, first was about the composition structure, than has begun to be able to propose unconnected sonorous/vocal experiences with the prevailing idea on singing in the global musical culture, and it embraces a philosophy that concerns: the conscience of existence (as creator), to be contaminated (’cause my creation is in-social and incultural contest where rules that I discredit are in force), and contaminating (as supporter of this contamination which I think myself as an episode and not as the symbol).

Regarding the sound:
Referring to accredited precedents in the history and to definite quotations where I can, my chief passion is the limit. The language of music and sound limit. Limit: where there aren’t incorrect or correct formulations, but just to venture into the unknown through unusual things.
Regarding the (formal) structure:
I always was been interested in the so-called "entre-deux-coup-de-dés" by Deleuze: the between of the composition, the most ambiguous part of it. So the objective is to exalt the terms of the construction-sensation relationship, not as conflict but as several extensions.
There isn’t just the doubtful nature of the exploration in this. The doubtful nature to intend like "out-of-the-rules" at all costs. The foundation is a constant and indifferent to meaning interaction: I don’t want to indicate any one to be vocalist, musician or to live, but to go through: my work is like an action being carried out, a process where it’s necessary to breathe Conscience air. It is "multi-functional": offensive to the pragmatic cultural dominion status-quo that principally dodges the plural and multi-directional creation: what I call indispensable base to start, the point of view that cannot be omitted. These intentions substantiate at least three clear aspects or tracks in my project: an interferential temporality, or being carried out and not aprioristically definited; the serial form, where the listening and the variation produce the spectacular destiny and the composition; the freeing of the style, or the "empty/free will" by Hegel: a technique and analytic mind will not be able to evade it.

[Romina Daniele, June 2005]