Why did I embark on this journey? A journey where music is only the destination — the final element in the creation of a world inhabited by mathematical-musical symbols, fictional characters, and imaginary landscapes.
Because, deep down, music is no longer enough for me.
I feel the need to add new layers of meaning, to give music a value beyond performance or entertainment. I wish it could simply be considered art — even within the limits of my abilities and my talent.
It’s a bit like the difference between theater and cinema: the former is tied to pure performance, the latter to a process involving a larger team, longer production times, and complex planning. Classical music or jazz, for example, are like theater: every sound is produced in that moment by a musician; and their gesture, technique, and knowledge express themselves in the here and now.Pop music, instead, is more like cinema: many professionals combine their skills in a more structured, time-distributed production flow, aimed at entertainment and at maximizing impact in the pursuit of public attention.
Well, I want to make art films. And since my goal is neither entertainment nor live performance, what I produce has little impact — but it makes me deeply happy, because it gives meaning to my musical talent, to my spiritual and symbolic dimension, and to my passion for mathematics.
What more could I ask for?
Skin, Flesh, and Seed
This way of making music resembles a peach, in some sense.
The outermost layer — the skin — is the music itself. A person can listen to the sounds much like they might look at a fruit: they may not taste it, may not know its flavor, nor the soil where it was planted and grew; but perhaps it is pleasing to their eyes — or rather, to their ears.
The pulp corresponds to the story — a real story with characters, landscapes, and more. It is set on the imaginary island of Solaria, where a meteorite brought a strange form of life in the shape of a butterfly named Ku. It’s a work of worldbuilding and storytelling, a fascinating adventure in itself, about which I’ll have much to write later on.
The structure of the flesh is built upon certain mathematical-musical symbols: each character or element has a musical counterpart. So I created (or perhaps discovered) the sigma chord, the butterfly chords, the epsilon chord; I identified the tritone interval as a metaphor for the human condition, evil as the division between two pentatonic scales, good as their interconnection and the unique value of each note — white or black — in composing the dynamic, dissonant, and unstable harmony that defines a vibrantly peaceful world. Consonance, on the other hand, is a fascinating element — one that must be handled with care, as it may lead each note to close in on its own world: consonant, yes, but incomplete, and prone to clash with the consonance expressed and lived by others.
The seed of the fruit — the generative element, the part that the listener, after appreciating its color and shape, after savoring its taste, might eventually plant in their own real world — corresponds to my personal worldview. It is the cause behind the entire composition, something I could never express through music alone.
The Next Step
In my imaginary world, as in the real one, war is gaining ground, and I find myself questioning its deeper causes. In the next segment of the composition, I will trace the six stages that lead to it and to its consequences: noise, ignorance, fear, mistrust, conflict, war, and pain.
To listen to and explore the first two parts of this project, you can watch the corresponding videos on YouTube:
01 - The game of music: winning or playing?
02 – The Game of Music: I created a palindromic composition
Or you can listen to its skin directly on Spotify: