I am interested in sound, sensation and the concept of intelligibility. The aim is to promote an intelligible approach to musical art; understanding the relationships between sounds over time allows us to promote musicality, the intelligible musical faculties. This ability does not concern a mnemonic process but rather a value that our mind attributes to a relationship between sounds according to an intuitive modality. Harmonic, melodic and musical grammar relationships have a structured and cultural approach to the world of sounds, and represent one of the possible abilities.
These pieces are studies for piano that aim to develop, together with the relationship with the keyboard, the development of musicality, through modular scores of which the performer must be aware of the dynamic/formal principles so that the performance can be effective.
But how much I love playing the piano!
West
Levant
Cry
Smile
My Blues
Frankenstein the Alchemist
On the basis of a well-defined formal architecture, specified by the motivic characterization and a verbalization of the executive act, the performer, through the exploration of the materials, will have to "lead" the piece by modeling his abilities and knowledge for a concrete balance of the structure. This conduction/direction is composed of the succession of "functional moments of the form": different structural and movement modules, different possible distributions of the sound element on contrasting and mediating textures that act as elements of fragmentation and construction. An aesthetic purpose, therefore, is accompanied as a self-regulating factor by a didactic purpose aimed at the use of the means of musical "syntax" and the skills related to hearing. It seems clear that the exploration of the possibilities in itself can constitute a study on the ability to perceive the different moments of a musical "organism" just like the study of any piece written in a traditional way with determined note heights, but in this case it is precisely the exploration in itself that makes awareness of the materials used possible. Improvisation has always been present in the history of music, especially when the figure of the composer coincided with that of the performer.
