RIFLESSIONE COMPOSITIVA DI ASSEMBLAGGI POSSIBILI
54’28”

TIZIANO MILANI, IT

CDR + DIGITAL RELEASE
CATALOGUE: F90103
EDITION: 50 COPIES
RELEASED SEPTEMBER 10, 2009

While in previous works the research of the relationship between space and sound took place in real environments — where the sounds were put in a room to analyse the acoustic properties of walls and objects — this time Tiziano Milani wanted to play a game, grounding his stand on an architectonic project yet to be realized, existing only on paper.

In brief:
1. Identifications of an architectural design and evaluations of a room

2. Choice of the sounds that have to interact with the space inside the room

3. Use of the room characteristics to develop the sounds, digital manipulations (reverb and other effects)

4. Composition of the workpiece on the basis of the developments of the project plant.

The linguistic musical tissue of this sound work is characterized by timbric, rhythmic and formal elements tending to an expansion and cohesion of the sound framework. In this work, the external sounds and noises, usually excluded from the musical enjoyment context, are recovered and integrated in the work to give the starting point material for the construction of the composition.

The title (English: “Compositional thoughts on possible assemblies”) 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 these sounds, even if one can be found moments of great quietness due to the resonant textures. The second part is completely realised by employing the ascending and descending variations of acoustic instruments, giving an atmosphere of tumultuous turbulence. The presence of asymmetrical elements gives an aleatory sense. What this work tries to find is an indeterminate way to compose.

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TIZIANO MILANI, IT [ ➔ ]

Tiziano Milani, acoustic architect, is an italian based experimental artists who mixes together sound art, ambience & drone textures, impro, electro acoustics, and slight noise tendencies into long shifting, dreamy and varied long form sound paintings that as he calls acoustic architecture.

“Nothing in the sounds I pick up is affirmed with will and enterprise, but rather whispered or murmured almost by chance, just like a conversation unintentionally heard on a subway train, or accidentally eavesdropped through the wall of an hotel room. The approach to sounds must not be simplified because every single sound is nothing but a small part of a whole which should be considerated in its own theoretic – and then mechanic – execution. Several different stages of work are stratified in every single piece (contemporary or not). In some cases sounds are generated by touching, beating and breaking contact-miked objects. In other cases, they are the results of manipulated fluxes. In the audio tracks verything is deposited like in a melting-pot than receives and mixes alchemies. The work on sounds involves differect aspects such as improvisation, which is seen like the ecstasy of the moment, like a synthesis between meditation and execution, contemplation and composition, but also a sense of void. The improvisation, the play by meaning of coincidences and casualities, are elements so important that resolve themselves in the idea of process/performance. One of the techniques I use consists into a stratification of the musical form, through which the same elements can have a different expressive function. This kind of “formal deepness” allows to move from the “background” element to the note / musical element in the “foreground” with continuity. Sounds have a decisive role in a social context, and their variation often determines a consequent change in the relations occurring at that time.“

Over the years he has attended courses and seminars about electro-acoustic music and visual arts at Conservatorio G. Verdi in Milan, Conservatorio Santa Cecilia in Rome, Conservatorio Arrigo Boito in Parma, Università degli studi di Siena “dip. di scienze della comunicazione”, Università “La Sapienza” in Rome, Facoltà di ingegneria dipartimento infocom, IX.

MAURIZIO PUSTIANAZ / CHAIN DLK

Tiziano Milani is an acoustic architect with different releases at his active: CD-Rs on Setola di Maiale and A.F.E., free Mp3s on Chew’z net-label, etc. He collects casual sounds and in some cases they are generated by touching, beating and breaking contact-miked objects. His works are the results of an alchemy produced by the mix of many layered sound sources. Also the track you find on RIFLESSIONE COMPOSITIVA DI ASSEMBLAGGI POSSIBILI born in that way and even if by saying that the result is a mix of tiny elements, it doesn’t sound like an experimental casual mishmash of things. Tiziano is really good at using cracking noises, hisses, metal clanging sources and droning or humming sounds and the fifty four minutes of the track form an interesting and always mutating suite where noises and melodies coexist. The CD-r is limited to 50 copies and you can check an excerpt at the label’s website.

 

PAOLO MICELI / KOMAKINO ‘ZINE

Farmacia 901 is an experimental avantgarde record label exploring a different sound plane, – where the reading key of its Artists seems to me always being like ‘more conceptual than musical’. Let’s say that a song is made of sounds, but sounds can also not make a song. – So let’s take Tiziano Milani: – He defines himself as an acoustic architect (or maybe He just is!), He works on micro-sounds like particles of a structure, something visible and at the same time intangible, multilayered minute movements of minimal drone Music, and – conceptually – realizes an imaginary installation designed to transform the sound perception of a room into something digitally artistic and interactive once You’re in. Of course, if I didn’t have read the three lines of the press release to light me this concept, I might have just written the usual things: experimental electronic Music, meditative, post-concrete recording, glitch, digital sound synthesis. And, actually, that’s it. But, like when You visit an art installation, often You need to read the guide lines to discover the original meaning behind the object itself, that, – as said above, – it is often more conceptual than musical. Anyway, about one hour into the duty pharmacy, Time slips fast and pleasantly alienating, – the exhibit was worth the price of admission.