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PROPOSING THE WORK "Diffrazioni Sonore" Romina Daniele has been
awarded with the Demetrio Stratos International Award for musical
experimentation (section: new works), 2005 edition, theme: "vocalism and research." - The Career Award has been awarded from the great American artist Diamanda Galàs (2005) and Meredith Monk (2007)
Born in Naples and living in Milan, Romina Daniele has carried on studies about history, methodology of art and aesthetics and has gone through different musical and didactic experiences. All the studies carried on over the last two years in poetry, music, vocalism, theatre and art, have been fundamental for the production of the new record: Aisthànomai (2007, © Romina Daniele).
The main elements are: the sound research and the exploration of the dynamics, the overtones and the frequencies, the interlacing and/or the conflict between the sound waves, besides being musical, also acoustic.
The voice in its differing, unexpected and sudden shades, dominates a sign universe, in which faraway melodies and ancient calls meet contemporaneous technologies of composition in the so called avant-garde dimension; weaving the way to explore the perception territories and its processes.
Between construction and dismantling, composition and instinct, Romina Daniele performs the tragedy of consciousness in an open comparison with the listener. To find the human awareness (by man on man), or the reasons for its absence.
FROM "DIFFRAZIONI SONORE" PROJECT THEORETICAL LINE TEXT
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 in-cultural 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]
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