This work includes several research in the field of “sound science.” The goal is to acoustically narrate the events described in Virgil's Aeneid. For the sound development of the poem, I applied the major current electro-acoustic techniques, combining the new musical aesthetic with the narrative lightness of works of the past. The work is divided into 12 books. Three tables have been created: the first to identify the action, the second for the characters, finally to identify the places of events. Each book in turn is thought of as a sort of “emotional framework” well characterized by different models of sound synthesis. Dramaturgical components are divided into different modes of chronological process: acoustic sampling, digital sampling, logarithmic and stochastic evolution, pre/post production, assembly and formal structure. Acoustic sampling made it possible to research and create custom instruments that approach the sounds of the past. For this research I used recycled objects of various bodies: metal springs of different sizes tied with strings extrapolated by stringed musical instruments, trying to create a sort of “Liuteria Oggettistica”, that is, a combination of various objects, placed in vibration by rubbing, friction, percussion, shaking etc.
I started my research in the field of digital sampling in 2007; it includes instrumental development, applied to music informatics, used in this case to create a sound model that would meet the needs of refraction and reflection in the soundscape of the poem. From a logarithmic and stochastic point of view, several mathematical studies have been applied: one in particular is related to the development of micro-sections with reiteration processes thanks to the combinatorial calculus, linked to needle at the rhythm and the fundamental starting note, which in turn will be prepared in the process - which I call pre / post-production - synthetic The form has spontaneously been shaped on the richness of emotional contrasts, present in the literary work, as well as by the characterization of characters and places, a path reminiscent of the Wagnerian technique of the leitmotif. Finally, a brief nod to the symphonic poem:
It was Listz who coined the phrase “Symphonic Poem” in 1854 to baptize the new kind of composition that was born with his Overture at Goethe’s Rate.
“The symphonic poem is the expression of a premusical objectivity that creates form;
Form is determined by the poetic idea (literary or pictorial) that is at the origin of the musical genre. The aesthetic idea, therefore, is subject to the poetic idea.”
The Symphonic Poem was born in a very active historical moment not only in the emancipation of instrumental and orchestral techniques, but above all in the most complete discovery and in the most acute invention of the timbre; stamp as magic of imagination (...) the Symphonic Poem makes the “program” significant with the law of sounds in which the terrestrial of reality is canceled. Perhaps it is precisely with the stamp that music becomes more music; and no other compositional element ever matched that of the timbre in celebrating the profound experience of music.”
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