A book?? Yes.

A four-hand essay about music in tv series, specifically on music in the opening credits.
-Little to say?-
That's because you did not pay too much attention to it.

Unfortunately, for now, it is only in Italian, but an international version of it is being discussed.
You can purchase it any time on Amazon, as a Kindle e-book.

What on earth was that?!

Watch the movie. Select the footage. Select it again, cut it again, until what remains feels not enough for having any clear implicit narration. Compose the music, and let it be equally important to the images. Refine and combine. What came out of this process (that is mainly a music collaboration with Reed Puleo on drums and Pietro Barcellona on doublebass) is probably describable as a nightmarish style exercise without any clear style or any clear form. Not exactly a videoclip, not exactly sound design, not a soundtrack. A monstrosity, as the original movies. Extremely expressive and yet very questionable.
This will be the start of a sequence of short pieces based on black and white movies' remixes.

Sounds surrounds us

Wine glasses, doors scratchings, guitar amplifiers, uneducated voices, an harpsichord, kitchen pans, you name it ...
All of this can acquire a higher, even spiritual meaning.

How does a Deity sound?

Quetzalcoatl, in many Mesoamerican religions is described as a feathered serpent, a mighty creator of the human kind who is connected to wind. As a powerful flying reptile, such as a dragon, this is what it sounds like through a clarinet.

Cornelius Cardew, TREATISE

It seems unreal now...
During 2018, together with other five incredible musicians, I did have the chance of performing the Italian integral premiere of the Treatise at the Museum of 20th Century, in Milan.