|1||Riflessione Compositiva Di Assemblaggi Possibili||54:28|
1. Identifications of an architectural design and evaluations of room
2. Choice of the sounds that have to interact with the space inside the room
3. Use of the room characteristics to develope the sounds, digital manipulations (reverb and other effects)
4. Composition of the workpiece on the basis of developments of the project plant.
The linguistic musical tissue of this sound track is characterized by timbric, rhythmic and formal elements which tending to an expansion and cohesion of the sound framework. In this work, external sounds and noises, usually excluded from the musical enjoyment context, are recovered and integrated in the sound track to give the starting point material for the construction of the composition. The title evokes the figure of the two-faced mythical divinity, represented by the biparted division of the sound track. There are lots of strident moments and savage rhythmic movements into this sounds, even if it can be listen moments of great quietness due to the resonances texture. The second part is completely realized by ascending and descending variations of acoustic instruments which give an atmosphere of tumultuous turbolence. The presence of asymmetrical elements give an aleatory sense, what this work tries to find is an indeterminated way to compose.