The following is the score of 'The Harp: Chapter I', a hybrid, all-encompassing, experimental electroacoustic composition, which arose from contact with stimuli and suggestions from the most diverse spheres, from contemporary music to electronic music, via pop, rock and more.

The writing of the score represents a fundamental aspect of the operation of synergic and interdisciplinary integration between the multiple musical universes of contemporaneity promoted by The Harp project. In fact, we believe that musical writing constitutes a privileged vehicle, unfortunately very often undervalued and snubbed in many musical circles, capable of fostering communication, transmission and dissemination of the musical idiom at 360 degrees. A tool therefore necessary to break down the barriers still existing between genres and musical spheres, in order to benefit from reciprocal, mutual influence, for an enrichment and expansion of technical-expressive possibilities.

The radical notational choices implemented here seek to visually translate and narrate the course of events, favouring the trend of densifications and rarefactions of masses and sound layers, in search of a possible integration between the needs of the logical-chronological arrangement of elements and those of the expressive representation of musical gestures and the related phonic result. The digital processes were also graphically translated according to the same strategies.

In addition, recourse was made to the graphic representation of the waveform and especially the spectrogram (temporal evolution of the energy distribution of the various frequency components contained in the spectrum of an audio signal), arranged in perfect synchrony with the elements of traditional musical notation above. This makes it possible to establish a very useful mediation work, a "bridge" between the map (the representation in the score, as a sequence of instructions to bring the sound fact into being) and the territory (the actual, phenomenological sound result). This broader, expanded and more complete form of musical notation prefigures a new profile of the musician, a different relationship with instruments, the urgency of a more modern flexibility and malleability of the figure of the composer and performer, in a perspective of interdisciplinary synergy that constitutes a distinctive and idiomatic feature of contemporaneity.

Written by Kety Fusco & Alessio Sabella

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