Conservatorio di Benevento

Antonella Bianco - Tripping Desk 

Tripping Desk is a sonic odyssey that transcends the daily routine, emancipating the listener from the enslavement of habit. With ethereal notes and hypnotic rhythms, the work unfolds as a journey through the psyche, an escape from monotony to embrace the essence of exploration and self-care. The sounds narrate a story of liberation, where the journey becomes not only a divertissement but also a remedy for the soul.

The composition weaves through soundscapes that invite the listener to get lost and rediscover their true essence.

Mattia Pecchillo - A day in a strange factory

With this purely concrete work, I wanted to transform and consider the factory as a real sound generator. All the sounds, from the first to the last, have been sampled and processed. The piece is divided into 5 parts: Flow, Question and Answer, Stratification, Natural Normality-Electronic Vision and Sudden Aggregation, reaching a total of 3 minutes and 44 seconds. The meaning I wanted to give to this piece is purely social, I chose the factory because it is the representation of contemporary human work, alienation and suffering, as well as a place of conflict between individual subjects. I wanted to use sound as a political means (which has extraordinary strength), to give voice to every single individual who works within this environment, personifying denunciation and testimony. Personally, this job was a real and fascinating challenge for me, it gave me technical elements that I will carry with me forever.

Michelangelo Pepe - Summer Phapsody

Valeria Cipriano - SPIEL

The title of this composition, "Spiel," which can be translated as "game," refers to the initial phase of every  child's life, namely, childhood. In this composition, there are sound gestures derived from the sampling and  processing of various toys commonly used by children. In this context, "Spiel" goes beyond merely depicting  toys, encompassing a deeper and more specific meaning articulated through multiple phases that  determine its structure. The idea is to narrate the exact moment when a child first encounters the sounds of life but has not yet  precisely distinguished between sound and 'noise.' The child will try to 'play' with both in an alternating and  simultaneous manner, creating sonic blends that unconsciously produce new timbres, shaping unexpected  sonorities. This will show them that 'sound' and 'noise' are interconnected and that together they stimulate  creativity.

Siria Valent - Icarus

Icarus is a testament to the artist’s innovative spirit, realized through the production of numerous oscillators crafted on the Max software. The sounds, once recorded, were processed using Ableton. Just as Icarus, driven by curiosity, dared to fly towards the sun, challenging the heights in Greek mythology, Siria explores frequencies of varying pitches, creating diverse glissandos. The piece vividly captures moments of ascension and descent, weaving a complex texture that narrates Icarus’s journey towards the sunlight, culminating in the melting of his waxen wings – a theme that resonates through the composition’s conclusion.

Vincenzo Bottiglieri - Desaparecido

Desaparecido is an acousmatic composition inserted for its linear and clear form of the atmosphere that is created around it. The objects used are mostly concrete, but there is no shortage of very high frequency sinusoids, modulations and textures created with concrete materials. You recommend listening free from any form of seclusion and with an innovative spirit.

Pietro Piscosquito - Traveling in Third Class 

The piece was born from the experimentation of an electronic sound generation system, a challenge in composition played in the field of the economy of materials, which are created by bringing into play a few sound events, manipulated and reinvented through digital processing. Deterritorialization of the sound substance - the sound matter does not coagulate into structures, but vibrates in a molecular flow of singularity, of intensity - multiple trajectories of sound cells that are produced on multiple levels through processes that become modular. The sonic assemblage is dominated by sound, becoming itself an act of "marking". This passage is accomplished by crossing the rhythmic sections, the discretization and segmentation of the sound continuum, thanks to this listening changes its constitution, it ceases to have a function of control, of retrieval, to become decipherment. We move from listening to clues to listening to signs, from alertness to hermeneutics. Sound emission as a method of sound geography corresponds to a definition of listening as a strategy of identification, the acoustic path carries itself in search of clues to the action of a subjective nucleus, a "zone" that becomes something else, beyond the linguistic dimensions. The sound phenomena perceived as clues mask the source that produced them and allow on the one hand to locate them in a virtual space, on the other to characterize them, to try to decipher them. At this level, the noises, the sounds do not only indicate the movements of the "bodies" in space but embody the trace of a presence, of an activity, of a subjective nucleus, of a relational network in a third class journey, for where in this perspective the "sound" elements are not considered as abstract objects or cells of a text, but as events that constitute a horizon, a world, a sound environment. If on the one hand the material is characterized by the fact of being transformed into molecules, and of being in relation with forces, on the other it is defined through condensation operations, the organization of this cellular and heterogeneous matter proceeds through devices simple to assemble, to assemble with a propensity for condensation and consistency. It is not a question of imposing a form on a material, but of developing an ever richer, ever more consistent material, capable of capturing ever more intense forces. An architecture, in terms of coexistence (vertical plane) and succession (horizontal plane), an a-centric, non-hierarchical and non-significant system, without organizing memory or central engine, firmly defined by a circulation of states and flows. The global organization of the work not as a causal "machine", but can be seen as a world of "propensities" as a process that allows possibilities to be realized and which is always open to new possibilities.

Valentino Santarcangelo - Titolo: NIVEAU 

L’idea di fondo per la concezione di quest’opera, vede la realizzazione di un brano elettroacustico in una sequenza di dimensioni e di spazi immaginari non marcati dalla presenza umana. 

Per il brano si è fatto ampio ricorso alla sintesi e campionamento, e ad una grande manipolazioni con effetti e processori di segnale. I diversi materiali sono stati organizzati secondo un flusso continuo, che procede per accrescimento o cambiamento.

Danilele Amatyo - Inner Everything

Much of the compositional process linked to this work is based on the material used. Within the composition there are sounds of static energy, mass or in any case machinic sounds, which are combined with samplings of toy trains and other objects of this type. The totality of the sound material used is arranged in such a way as to obtain internal coherence and "harmonies".

Antonio Floreo

Cosmic Spark è una composizione elettroacustica che si fonda sull’idea di  un viaggio sonoro in uno spazio “cosmico”, non definito. La struttura della  composizione e il materiale sonoro impiegato crea diverse finestre sonore,  differenti tra loro per evidenziare e creare movimento nell’ascolto. 

Irene Ranaldo - Leonardo's Flight

Leonardo da Vinci created masterpieces of art and sculpture. Equally remarkable, his aggregate achievements in engineering, mathematics, anatomy, geology, physics, music, military technology, aeronautics, and a wide range of other fields, not only stood without peer in his own time, but were strikingly prescient for the distant future. 

He recorded his forward-looking ideas in thousands of notebook pages, known as codices. He produced one codex entirely on flight in 1505-1506, the Codex on the Flight of Birds. Among the many subjects Leonardo studied, the possibility of human mechanical flight held particular fascination. He produced more than 35,000 words and 500 sketches dealing with flying machines, the nature of air, and bird flight. In the Codex on the Flight of Birds Leonardo outlined a number of observations and beginning concepts that would find a place in the development of a successful airplane in the early twentieth century. Hundreds of years before any real progress toward a practical flying machine was achieved, Leonardo expressed the seeds of the ideas that would lead to humans spreading their wings. 

The track in question fuels this desire using birdsong as mental transposition. You immerse yourself in their song, modulating it until you lose it. 

Frequencies pitched almost to make them become flying objects. The song now turns into a helicopter flight and now in an airplane, now close, now far away. 

The sound object of the composition is given by several recordings of birdsong. From the same sound object, others were obtained by cutting out some parts in which the song is different. Various Time stretching effects have been applied to these objects both in expansion and contraction of the cuttings themselves. Resonance and delay effects.

Lorenzo de Gannaro - "Expanding to E (Rapsodia)"

This electronic music composition is based on 6 MIDI parts and 2 synthesizers: the first is a polyphonic synthesizer, the second one is monophonic with a MIDI arpeggiator.

All six parts initially form a cluster (B4, C5, C#5, D5, D#5 and E5); during the play, the highest note (E5) is fixed until the end of song, the remaining notes will going down in a chromatic way until every note will reach E note in a different octave (E4, E3, E2, E1, E0).

Each syntesizer will receive all notes together during the play.

This composition was produced in 2024.

Pietro Nacca - Beyond the voice

“Beyond the voice” is a project that ventures into the realm of Siri, the ubiquitous voice assistant. Through a  curation of Siri’s voice samples, this immersive experience transcends the utilitarian jurisdiction of technology.  By repurposing everyday sound like voice commands, responses, and feedback, “Beyond the voice” tries to  replicate with sounds the relationship between the voice assistant and the environment in which it is immersed.  This abstract exploration of Siri’s voice invites listeners to embrace the wonder and complexity of the digital  dimension, trying to blur the lines between the artificial and the human.