"Urlar li fa la pioggia come cani". Ambiente sonoro, voce ed elettronica nell’Inferno di Sciarrino
DOI:
https://doi.org/10.13130/2035-7362/806Abstract
L’articolo si concentra sull’opera per nastro magnetico “La voce dall’Inferno”. Inizialmente concepita come opera radiofonica, composta da Edoardo Torricella e Salvatore Sciarrino, vuole presentare attraverso le sonorità possibili con l’elettronica un approccio al mondo dei dannati che ne risvegli i rumori e le voci, l’acustica del luogo e le presenze.
Su questi elementi si concentrerà anche il mio articolo, partendo dallo studio di un otologo sulla Commedia, ci si sposterà a questioni filosofiche ed estetiche che riguardano il rapporto tra la voce e lo spazio, tra la voce e il rumore e l’utilizzo dell’elettronica applicata alla voce. In modo particolare però si cercherà di concentrare l’attenzione, attraverso l’ascolto dell’opera, su di una tematica: come la voce influisca sulla percezione emotiva dell’ambiente sonoro.
My essay focuses on the work for tape “La voce dall’Inferno”. Initially conceived as a radio opera, composed by Edoardo Torricella e Salvatore Sciarrino, “La voce dall’Inferno” wants to show through the sounds the world of damned with their noises, voices and their presence in that place.
The electronic sounds and the possibilities open by record, freezing, generator and synthesis play an important role in the development and the aesthetic of the opera.
On this elements will focus my article. We’ll move to philosophical and aesthetic issues that concern the relationship between voice and space, voice and noise, and the use of electronic instruments.
In particular try to focus on a theme by listening to the opera: how the voice influences the emotional perception of the soundscape.Downloads
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