Works 3 | ELECTRONICS

Works 1 | CHAMBER AND ENSEMBLE

Works 2 | SOLO

Works 4 | SONGS

Works 5 | OTHER WORKS

STILLE NACHT (Franz Xaver Gruber) (2015)
Voice and electronics (recorded and unprocessed steel sheet)

Dario Buccino, voice, HN steel sheet

Recorded, edited and mixed by Dario Buccino
Mastered by Alessio Camagni at Noise Factory, Milano.

Stille Nacht (Franz Xaver Gruber) (2015) | Solo voice and electronics

FINALMENTE IL TEMPO È INTERO. PER DUCCIO BEVERINI E PIANOFORTE. Nº 3 (2022)
For piano

Duccio Beverini, piano

[Scroll for English and German description]

Il titolo rivela che l'opera non consiste soltanto nella propria forma sonora, ma anche nell’essere umano che le dà vita. Il pezzo immerge l'ascoltatore in insistenti tempeste acustiche e in prolungati silenzi, conducendolo a immedesimarsi nella catarsi emotiva del performer. 

La partitura prescrive azioni da eseguire con l’intero corpo: slanci, crolli, spasmi, abbandoni che si riversano sulla nona più grave dello strumento. Una complessa composizione di processi performativi fisici, mentali ed emotivi, organizzati sulla pagina con una notazione specifica.

Il lavoro disegna un arco temporale che procede idealmente dall'esterno verso l'interno, ovvero dalla fisicità più evidente – con il pianista che suona in piedi e con le mani protette da grossi guanti imbottiti – fino alla sua sublimazione simbolica – con il pianoforte utilizzato come puro generatore di risonanze.

È musica? Performance? Teatro? La risposta è sempre sì.
__________________________

The title reveals that the work consists not only of its sound form, but also of the human being who brings it to life. The piece immerses the listeners in insistent acoustic storms and prolonged silences, leading them to identify with the performer's emotional catharsis. 

The score prescribes actions that are to be performed with the whole body: outbursts, collapses, spasms that surge over the lowest ninth of the instrument. A complex composition of physical, mental and emotional performative processes, organised on the page with a specific notation. 

The work traces a time arc that ideally proceeds from the outside to the inside, that is, from the the literal evidence of physicality – with the pianist playing standing and with his hands protected by large padded gloves – to its symbolic sublimation – with the piano used as a simple generator of resonances.

Is it music? Performance? Theatre? The answer is always yes.
__________________________

Der Titel verrät, dass das Werk nicht nur aus seiner Klangform besteht, sondern auch aus dem Menschen, der es zum Leben erweckt. Das Stück lässt die Zuhörer in eindringliche akustische Stürme und lange Stille eintauchen und führt sie dazu, sich mit der emotionalen Katharsis des Interpreten zu identifizieren. 

Die Partitur schreibt Aktionen vor, die mit dem ganzen Körper ausgeführt werden sollen: Ausbrüche, Zusammenbrüche, Krämpfe, die über die unterste None des Instruments hinauswallen. Eine komplexe Komposition aus physischen, mentalen und emotionalen performativen Prozessen, die auf dem Blatt mit einer spezifischen Notation organisiert sind. 

Das Werk spannt einen zeitlichen Bogen, der idealerweise von außen nach innen verläuft, d. h. von der buchstäblichen Evidenz der Körperlichkeit - der Pianist spielt im Stehen und seine Hände sind durch große, gepolsterte Handschuhe geschützt – bis zu ihrer symbolischen Sublimierung – der Flügel ist als simpler Resonanzträger eingesetzt..

Ist das Musik? Performance? Theater? Die Antwort ist immer ja.
__________________________

Recorded live at Curva Minore Festival | Palermo | 27.11.2022
With the support of Musikfonds, Fund for Contemporary Music from the German Ministry of Culture

Live audio recording: Simone Sfameli
Audio mix: Alessio Camagni

Finalmente il tempo è intero. Per Duccio Beverini e pianoforte. Nº 3 (2022) | Solo piano

ATTENTION: The electronics is based on sub-bass frequencies (10-50 Hz). It is necessary to listen with high quality headphones or loudspeakers, ideally with a subwoofer.

MI NASCO. PER PIANOFORTE ED ELETTRONICA. Nº 2 (2024)
For piano and electronics (stereo audio fixed media)

Duccio Beverini, pianoforte

[Scroll for English]

La partitura pianistica prescrive azioni da eseguire con l’intero corpo: slanci, crolli, spasmi, abbandoni che si riversano sulla nona più grave dello strumento. Una complessa composizione di processi performativi fisici, mentali ed emotivi, organizzati sulla pagina con una notazione specifica.

Nell'elettronica, la prevalenza di frequenze sub-basse e la quasi totale assenza di frequenze percepibili come altezze determinate rendono palpabile la dimensione vibratoria e corporea del suono. 

L'aspirazione è quella di “suonare l'ascoltatore”, mettendolo in risonanza, inducendo nell'atto dell'ascolto un atteggiamento contemporaneamente iperattivo e iperpassivo. Si tratta di accendere la “risonanza affettiva” dell'intera realtà, non solo quella del suono e non solo quella del corpo.
__________________________

MI NASCO. PER PIANOFORTE ED ELETTRONICA. Nº 1 (2024)
Duccio Beverini, piano

The piano score prescribes actions that are to be performed with the whole body: outbursts, collapses, spasms that surge over the lowest ninth of the instrument. A complex composition of physical, mental and emotional performative processes, organised on the page with a specific notation. 

In the electronics, the prevalence of sub-bass frequencies and the almost complete absence of frequencies perceptible as determined pitches render palpable the vibratory and corporeal dimension of sound. 

The aspiration is to ‘play the listener’, causing them to resonate, inducing an attitude in the act of listening which is simultaneously super-active and super-passive. It is about igniting the ‘affective resonance’ of the entire reality, not only that of sound, and not only of the body.

Mi nasco. Per pianoforte ed elettronica. Nº 2 (2024) | Solo piano, electronics

ATTENTION: The electronics uses sub-bass frequencies (10-50 Hz). It is necessary to listen with high quality headphones or loudspeakers, ideally with a subwoofer.

MI NASCO. PER LAMIERA HN ED ELETTRONICA. Nº 1 (2024)
For HN steel sheet and electronics (stereo audio fixed media)

Dario Buccino, HN steel sheet

Metapartitura: MD 1 + FTI 20 (c)
La metapartitura indica la "composizione di composizioni": 
MI DICO Nº 1 + FINALMENTE IL TEMPO È INTERO Nº 20 (c)

Mi nasco. Per lamiera HN ed elettronica. Nº 1 (2024) | Solo HN steel sheet, electronics

ATTENTION: The electronics uses sub-bass frequencies (10-50 Hz). It is necessary to listen with high quality headphones or loudspeakers, ideally with a subwoofer.

MI NASCO. PER DUE LAMIERE HN ED ELETTRONICA. Nº 1 (2023)
For two HN steel sheets and electronics

Dario Buccino, HN steel sheets

Mi nasco. Per due lamiere HN ed elettronica. Nº 1 (2023) | Two HN steel sheets, electronics

ATTENTION: The electronics uses sub-bass frequencies (10-50 Hz). It is necessary to listen with high quality headphones or loudspeakers, ideally with a subwoofer.

MI NASCO. PER PIANOFORTE ED ELETTRONICA. Nº 1 (2024)
For piano and electronics (stereo audio fixed media)

Duccio Beverini, pianoforte

Mi nasco. Per pianoforte ed elettronica. Nº 1 (2024) | Solo piano, electronics

MI NASCO. PER PIANOFORTE E LAMIERA HN. Nº 4 (2024)
For piano and HN steel sheet

Duccio Beverini, piano
Dario Buccino, HN steel sheet

Mi nasco. Per pianoforte e lamiera HN. Nº 4 (2024) | Piano, HN steel sheet

Song: TU LO FESTEGGI (2004)
Album: LA COSTRIZIONE DELLA NUDITÀ (2014)
Lyrics and music by Dario Buccino

Dario Buccino is an experimental composer who explores the intersection zone between the energy of compositional organisation and that which flows hic et nunc from its performative implementation. The album applies this research to the song form.

Dario Buccino,vocals, guitar, banjo, bass, piano, violin, HN steel sheet
Alessandro "Asso" Stefana, vox continental, omnichord, electronic toys
Sebastiano De Gennaro, vibraphone, marimba, percussion
Mauro "Otto" Ottolini, trombone, sousaphone
Quartetto EdoDea, string quartet
Stefano Nanni, strings arrangement

Recorded by Taketo Gohara at Officine Meccaniche and Noise Factory
Matered by Alessio Camagni at Noise Factory
Produced by Taketo Gohara and Dario Buccino
________________________________________

Tu – come ti permetti…
Sfasci…
Sfondi…
Come se neanche tu esistessi.

Ma per qualcuno mai più,
mai più 
ci sarà il vento tiepido
che risveglia al mattino
e consegna alla nuova giornata…

Perché tu gli hai rotto gli occhi.

Perché gli hai sfondato il pensiero.

C’è un solo peccato.
Un solo peccato mortale.
Tu lo festeggi.
Tu crei disperazione.

© 2004 Dario Buccino
________________________________________

The song is an ancient musical form. It has existed as long as human beings, as long as music. There are lullabies, work songs, love songs... 

I define the song as an affective object. All music is an affective object, that is, all music is a concentration of affective energies. We love music and we feel loved by music. And the song is namely a portable affective object.

As a composer I am consecrated, in fact, to musical forms that are very different from the song form. I consider myself a performative composer because I compositionally organise not only sound but also the necessary performative process to bring it into effect. The performative process is what takes place in the body and in the mind when we play music. 

The idea of the existence of a corporeal, embodied thinking is supported by ancient practices and theories (yoga, eastern martial arts, the christian doctrine of the logos being made flesh) and enquired by modern philosophy, cognitive psychology and neuroscience.

In the early 1990's I developed the HN System®, a musical system conceived to engage the performer’s entire body and mind in the creation of sound, harnessing the forces that come into play in the moment of the performance, in its here and now, embodied by the acronym “HN”. 

Even the most extreme conceptions and the most experimental praxis, however, are part of my research into the affective resonance of sound. For this reason, I have on many occasions over the years engaged with the song form.

In past centuries, there was nothing unusual in drawing on traditional oral music, and the importance assumed by the Lied (which in German means “song”, “chant”, “melody”, “ballad”) in the output of even intellectually extreme composers demonstrates interpenetration between popular culture and high culture.

The song is, in reality, a territory whose boundaries are too well-defined to easily accommodate the HN System's exploration, but it offers fertile starting points, because it is in the nature of the song, at least in its traditional forms, to be born and to be disseminated orally, that is, performatively.

© 2014 Dario Buccino

La costrizione della nudità (2014) [album] | 1. Tu lo festeggi

Song: CHE TUTTO CONSERVA INTATTO (2001)
Album: LA COSTRIZIONE DELLA NUDITÀ (2014)
Videoclip: https://www.youtube.com/watch?v=z5XJFFKGH18
Lyrics and music by Dario Buccino

Dario Buccino is an experimental composer who explores the intersection zone between the energy of compositional organisation and that which flows hic et nunc from its performative implementation. The album applies this research to the song form.

Dario Buccino,vocals, guitar, banjo, bass, piano, violin, HN steel sheet
Alessandro "Asso" Stefana, organs
Sebastiano De Gennaro, percussion
Mauro "Otto" Ottolini, brass arrangement and instruments
Stefano Nanni, strings arrangement
Quartetto EdoDea, string quartet

Recorded by Taketo Gohara 
Matered by Alessio Camagni
Produced by Taketo Gohara and Dario Buccino
________________________________________

Questo è il concetto più importante che in ogni canzone tento di fissare. 
C’ho messo degli anni per metterlo a fuoco. 
Ne ho sputato di sangue, ne ho fatto sputare, ma adesso il concetto è pronto a farsi donare...

C’è un punto inesteso nel corpo che tutto conserva intatto.

Ti ho avuta, mia tigre, potente, sporca. 
Ed io sono entrato, coltello sottile e violento. 
Ma in questo silenzio, a morsi ottenuto, d’amore, Amore, il mio amore è comunque nutrito.

Nulla si disfa perduto, nulla è corrotto. 
C’è un punto inesteso nel corpo che tutto conserva intatto. 

L’essenziale, in quanto tale, va detto una volta e poi lo si deve tacere. 
L’essenziale, in quanto tale, va detto una volta e poi lo si deve tacere. 
L’essenziale, in quanto tale, va detto una volta e poi lo si deve tacere. 
L’essenziale, in quanto tale, va detto una volta.
________________________________________

The song is an ancient musical form. It has existed as long as human beings, as long as music. There are lullabies, work songs, love songs... 

I define the song as an affective object. All music is an affective object, that is, all music is a concentration of affective energies. We love music and we feel loved by music. And the song is namely a portable affective object.

As a composer I am consecrated, in fact, to musical forms that are very different from the song form. I consider myself a performative composer because I compositionally organise not only sound but also the necessary performative process to bring it into effect. The performative process is what takes place in the body and in the mind when we play music. 

The idea of the existence of a corporeal, embodied thinking is supported by ancient practices and theories (yoga, eastern martial arts, the christian doctrine of the logos being made flesh) and enquired by modern philosophy, cognitive psychology and neuroscience.

In the early 1990's I developed the HN System®, a musical system conceived to engage the performer’s entire body and mind in the creation of sound, harnessing the forces that come into play in the moment of the performance, in its here and now, embodied by the acronym “HN”. 

Even the most extreme conceptions and the most experimental praxis, however, are part of my research into the affective resonance of sound. For this reason, I have on many occasions over the years engaged with the song form.

In past centuries, there was nothing unusual in drawing on traditional oral music, and the importance assumed by the Lied (which in German means “song”, “chant”, “melody”, “ballad”) in the output of even intellectually extreme composers demonstrates interpenetration between popular culture and high culture.

The song is, in reality, a territory whose boundaries are too well-defined to easily accommodate the HN System's exploration, but it offers fertile starting points, because it is in the nature of the song, at least in its traditional forms, to be born and to be disseminated orally, that is, performatively.

© 2014 Dario Buccino


La costrizione della nudità (2014) [album] | 2. Che tutto conserva intatto

Song: RIPRISTINA IL CERVELLO (2001)
Album: LA COSTRIZIONE DELLA NUDITÀ (2014)
Lyrics and music by Dario Buccino

Dario Buccino is an experimental composer who explores the intersection zone between the energy of compositional organisation and that which flows hic et nunc from its performative implementation. The album applies this research to the song form.

Dario Buccino,vocals, guitar, banjo, bass, piano, violin, HN steel sheet
Alessandro "Asso" Stefana, organs
Sebastiano De Gennaro, percussion
Mauro "Otto" Ottolini, brass arrangement and instruments
Children choir Mitici Angioletti conducted by Mariafrancesca Polli

Recorded by Taketo Gohara 
Matered by Alessio Camagni
Produced by Taketo Gohara and Dario Buccino
________________________________________

Ahi ahi ahi ahi ahi…
Ariecco la tua faccia!
Lo sguardo a mo’ di sputo.
Tu sprechi devozione, 
vorresti appartenermi.

Ahia mm-mm ah… 
T’avanza un pezzettino!
T’avanza proprio sempre,
e tu lo vuoi stroncare.
Eppure è proprio quello da salvare.

Per poterti perdonare 
come minimo dovresti
camminare con la testa,
poi pensare con il tatto,
poi guardare con il petto.

Il perdono che tu dici di cercare 
è difficile, è il peggiore
non è il mio.

Eh trullalla eh…
E che non ti sei accorta
che c’era sta fatica!?
Pensiero da allestire
e farlo stare dritto.

E come no, coraggio, 
ripristina il cervello!
Non sei fatta di sego.
Ti stanno già aspettando
giornate in tenerezza di te stessa.

Per poterti perdonare 
come minimo dovresti
camminare con la testa,
poi pensare con il tatto,
poi guardare con il petto.

Il perdono che tu dici di cercare 
è difficile, è il peggiore
non è il mio.

© 2001 Dario Buccino
________________________________________

The song is an ancient musical form. It has existed as long as human beings, as long as music. There are lullabies, work songs, love songs... 

I define the song as an affective object. All music is an affective object, that is, all music is a concentration of affective energies. We love music and we feel loved by music. And the song is namely a portable affective object.

As a composer I am consecrated, in fact, to musical forms that are very different from the song form. I consider myself a performative composer because I compositionally organise not only sound but also the necessary performative process to bring it into effect. The performative process is what takes place in the body and in the mind when we play music. 

The idea of the existence of a corporeal, embodied thinking is supported by ancient practices and theories (yoga, eastern martial arts, the christian doctrine of the logos being made flesh) and enquired by modern philosophy, cognitive psychology and neuroscience.

In the early 1990's I developed the HN System®, a musical system conceived to engage the performer’s entire body and mind in the creation of sound, harnessing the forces that come into play in the moment of the performance, in its here and now, embodied by the acronym “HN”. 

Even the most extreme conceptions and the most experimental praxis, however, are part of my research into the affective resonance of sound. For this reason, I have on many occasions over the years engaged with the song form.

In past centuries, there was nothing unusual in drawing on traditional oral music, and the importance assumed by the Lied (which in German means “song”, “chant”, “melody”, “ballad”) in the output of even intellectually extreme composers demonstrates interpenetration between popular culture and high culture.

The song is, in reality, a territory whose boundaries are too well-defined to easily accommodate the HN System's exploration, but it offers fertile starting points, because it is in the nature of the song, at least in its traditional forms, to be born and to be disseminated orally, that is, performatively.

© 2014 Dario Buccino

La costrizione della nudità (2014) [album] | 3. Ripristina il cervello

Song: E LO SPIRITO SFATTO (2010)
Album: LA COSTRIZIONE DELLA NUDITÀ (2014)
Lyrics and music by Dario Buccino

Dario Buccino is an experimental composer who explores the intersection zone between the energy of compositional organisation and that which flows hic et nunc from its performative implementation. The album applies this research to the song form.

Dario Buccino,vocals, guitar, banjo, bass, piano, violin, HN steel sheet
Alessandro "Asso" Stefana, organs
Sebastiano De Gennaro, percussion
Quartetto EdoDea, string quartet
Stefano Nanni, strings arrangement

Recorded by Taketo Gohara
Matered by Alessio Camagni
Produced by Taketo Gohara and Dario Buccino
________________________________________

Non lo dire...
Ahi! L'hai detto!
Mannaggia...

Monellaccia,
sarebbe bastato tacere, pensare, pensare, tacere.
In fondo sei grande,
potevi studiarti, curarti 
e infine, infine...
Infine tacere, tenere a posto
la bocca, la mano, il sangue, la donna 
e la secca tua miseria.

Come vedi non sono tranquillo.
Come vedi non sono tranquillo.
Come vedi non sono tranquillo.
Come vedi non sono tranquillo.
Come vedi non sono tranquillo.

Non lo fare...
Non lo fare...
L'hai fatto!

Che bella festa,
mi abbracciano tutti.
...la cenere in bocca...
Mi toccano.
...la cenere...
Non sputo più.

Buffoncello,
lo vedi che succede a scoreggiare veleno!?
La stanza era già piena di te.
Poteva bastarti. 
E invece no!
Perché rinunci, perché ti spacca,
che in fondo, che in fondo...
Che in fondo sai di non avere mai fermato 
la madre, il padre, lo spirito sfatto 
e la porca tua miseria.

© 2010 Dario Buccino
________________________________________

The song is an ancient musical form. It has existed as long as human beings, as long as music. There are lullabies, work songs, love songs... 

I define the song as an affective object. All music is an affective object, that is, all music is a concentration of affective energies. We love music and we feel loved by music. And the song is namely a portable affective object.

As a composer I am consecrated, in fact, to musical forms that are very different from the song form. I consider myself a performative composer because I compositionally organise not only sound but also the necessary performative process to bring it into effect. The performative process is what takes place in the body and in the mind when we play music. 

The idea of the existence of a corporeal, embodied thinking is supported by ancient practices and theories (yoga, eastern martial arts, the christian doctrine of the logos being made flesh) and enquired by modern philosophy, cognitive psychology and neuroscience.

In the early 1990's I developed the HN System®, a musical system conceived to engage the performer’s entire body and mind in the creation of sound, harnessing the forces that come into play in the moment of the performance, in its here and now, embodied by the acronym “HN”. 

Even the most extreme conceptions and the most experimental praxis, however, are part of my research into the affective resonance of sound. For this reason, I have on many occasions over the years engaged with the song form.

In past centuries, there was nothing unusual in drawing on traditional oral music, and the importance assumed by the Lied (which in German means “song”, “chant”, “melody”, “ballad”) in the output of even intellectually extreme composers demonstrates interpenetration between popular culture and high culture.

The song is, in reality, a territory whose boundaries are too well-defined to easily accommodate the HN System's exploration, but it offers fertile starting points, because it is in the nature of the song, at least in its traditional forms, to be born and to be disseminated orally, that is, performatively.

© 2014 Dario Buccino

La costrizione della nudità (2014) [album] | 4. E lo spirito sfatto

Song: A COLPO CIECO (2004)
Album: LA COSTRIZIONE DELLA NUDITÀ (2014)
Lyrics and music by Dario Buccino

Dario Buccino is an experimental composer who explores the intersection zone between the energy of compositional organisation and that which flows hic et nunc from its performative implementation. The album applies this research to the song form.

Dario Buccino,vocals, guitar, banjo, bass, piano, violin, HN steel sheet
Alessandro "Asso" Stefana, organs
Sebastiano De Gennaro, percussion

Recorded by Taketo Gohara
Matered by Alessio Camagni
Produced by Taketo Gohara and Dario Buccino
________________________________________

Intuire netto
a colpo cieco

Vedermi…

Morbidissimo tenermi
lieve
fresco
forte
necessario

Sei preziosa
mia coppa di sole

Mi trovi…

Mi incroci nei canali
dei concetti
puri
sporchi
senza peso

E scavi 
massa chiara

E di me 
cavi il succo
a colpo vero

Mi vedi…

Poggio le ossa cave 
sul tuo soffio
traccio il volo
forte
di te.

© 2004 Dario Buccino
________________________________________

The song is an ancient musical form. It has existed as long as human beings, as long as music. There are lullabies, work songs, love songs... 

I define the song as an affective object. All music is an affective object, that is, all music is a concentration of affective energies. We love music and we feel loved by music. And the song is namely a portable affective object.

As a composer I am consecrated, in fact, to musical forms that are very different from the song form. I consider myself a performative composer because I compositionally organise not only sound but also the necessary performative process to bring it into effect. The performative process is what takes place in the body and in the mind when we play music. 

The idea of the existence of a corporeal, embodied thinking is supported by ancient practices and theories (yoga, eastern martial arts, the christian doctrine of the logos being made flesh) and enquired by modern philosophy, cognitive psychology and neuroscience.

In the early 1990's I developed the HN System®, a musical system conceived to engage the performer’s entire body and mind in the creation of sound, harnessing the forces that come into play in the moment of the performance, in its here and now, embodied by the acronym “HN”. 

Even the most extreme conceptions and the most experimental praxis, however, are part of my research into the affective resonance of sound. For this reason, I have on many occasions over the years engaged with the song form.

In past centuries, there was nothing unusual in drawing on traditional oral music, and the importance assumed by the Lied (which in German means “song”, “chant”, “melody”, “ballad”) in the output of even intellectually extreme composers demonstrates interpenetration between popular culture and high culture.

The song is, in reality, a territory whose boundaries are too well-defined to easily accommodate the HN System's exploration, but it offers fertile starting points, because it is in the nature of the song, at least in its traditional forms, to be born and to be disseminated orally, that is, performatively.

© 2014 Dario Buccino

La costrizione della nudità (2014) [album] | 5. A colpo cieco

Song: RINASCITA (1992)
Album: LA COSTRIZIONE DELLA NUDITÀ (2014)
Lyrics and music by Dario Buccino

Dario Buccino is an experimental composer who explores the intersection zone between the energy of compositional organisation and that which flows hic et nunc from its performative implementation. The album applies this research to the song form.

Dario Buccino,vocals, guitar, banjo, bass, piano, violin, HN steel sheet
Alessandro "Asso" Stefana, organs
Sebastiano De Gennaro, percussion
Quartetto EdoDea, string quartet
Stefano Nanni, strings arrangement

Recorded by Taketo Gohara
Matered by Alessio Camagni
Produced by Taketo Gohara and Dario Buccino
________________________________________

Il fatto che in questo periodo
tu venga spesso in contatto
con questo secondo aspetto del mio carattere,
mi preoccupa un po’.

In fin dei conti
venerdì è stata una buona giornata…

Adesso non posso 
che ridere al pensiero
della rabbia
che ho avuto in quel momento
per essermi lasciata andare.

© 1992 Dario Buccino
________________________________________

The song is an ancient musical form. It has existed as long as human beings, as long as music. There are lullabies, work songs, love songs... 

I define the song as an affective object. All music is an affective object, that is, all music is a concentration of affective energies. We love music and we feel loved by music. And the song is namely a portable affective object.

As a composer I am consecrated, in fact, to musical forms that are very different from the song form. I consider myself a performative composer because I compositionally organise not only sound but also the necessary performative process to bring it into effect. The performative process is what takes place in the body and in the mind when we play music. 

The idea of the existence of a corporeal, embodied thinking is supported by ancient practices and theories (yoga, eastern martial arts, the christian doctrine of the logos being made flesh) and enquired by modern philosophy, cognitive psychology and neuroscience.

In the early 1990's I developed the HN System®, a musical system conceived to engage the performer’s entire body and mind in the creation of sound, harnessing the forces that come into play in the moment of the performance, in its here and now, embodied by the acronym “HN”. 

Even the most extreme conceptions and the most experimental praxis, however, are part of my research into the affective resonance of sound. For this reason, I have on many occasions over the years engaged with the song form.

In past centuries, there was nothing unusual in drawing on traditional oral music, and the importance assumed by the Lied (which in German means “song”, “chant”, “melody”, “ballad”) in the output of even intellectually extreme composers demonstrates interpenetration between popular culture and high culture.

The song is, in reality, a territory whose boundaries are too well-defined to easily accommodate the HN System's exploration, but it offers fertile starting points, because it is in the nature of the song, at least in its traditional forms, to be born and to be disseminated orally, that is, performatively.

© 2014 Dario Buccino

La costrizione della nudità (2014) [album] | 6. Rinascita

Song: LA COSTRIZIONE DELLA NUDITÀ (2009)
Album: LA COSTRIZIONE DELLA NUDITÀ (2014)
Lyrics and music by Dario Buccino

Dario Buccino is an experimental composer who explores the intersection zone between the energy of compositional organisation and that which flows hic et nunc from its performative implementation. The album applies this research to the song form.

Dario Buccino,vocals, guitar, banjo, bass, piano, violin, HN steel sheet
Alessandro "Asso" Stefana, organs
Sebastiano De Gennaro, percussion
Quartetto EdoDea, string quartet
Stefano Nanni, strings arrangement

Recorded by Taketo Gohara
Matered by Alessio Camagni
Produced by Taketo Gohara and Dario Buccino
________________________________________

Del tuo buio ho fatto festa, 
sgozzando la bestia che rideva.
Occhio bianco e corpo scemo, 
ma cazzo, non vedi che morivo!?

Puliscimi, tu sola puoi. 
Non rompermi il cuore, 
sul mio non ci puoi camminare. 
Ma guarda che sorpresa, 
quanto sporco c'era 
nella costrizione della nudità. 

Del tuo scempio succhio il malto, 
volevo saziarmi prigioniero. 
Strazio sciocco e raggelante, 
le mani non reggono il mistero. 

Pulisciti, tu sola puoi. 
Ridammi il mio sangue, 
sul mio non puoi schiacciar le suole. 
Ma guarda che sorpresa, 
è finito il tempo della costrizione della nudità. 

Distruggiti, tu sola puoi. 
Non vedi il mio tremore 
strappato alla tua lancia di ruggine? 
E attorno le teste dei morti tuoi scolate... 

Ma so il tuo candore e so il mio supplizio: 
non posso appartenerti, 
non posso appartenere, 
non devo appartenere.  
Volevo soltanto lo schianto a precipizio. 

Madre nera, madre stanca, 
l'orrore del verme che sfottevi... 
Io ti cerco nella furia. 
Il verme ti ha fatta prigioniera. 

Ma storto dio! Tu sola puoi! 
Ma come potevi 
schiacciare quelle vite a vuoto?! 
Ma guarda che sorpresa, 
è venuto il tempo 
della costrizione della nudità. 
La costrizione della nudità. 
La costrizione della nudità. 
La costrizione della nudità.
 
© 2009 Dario Buccino
_____________________________________

The song is an ancient musical form. It has existed as long as human beings, as long as music. There are lullabies, work songs, love songs... 

I define the song as an affective object. All music is an affective object, that is, all music is a concentration of affective energies. We love music and we feel loved by music. And the song is namely a portable affective object.

As a composer I am consecrated, in fact, to musical forms that are very different from the song form. In the early 1990's I developed the HN System®, a musical system conceived to engage the performer’s entire body and mind in the creation of sound, harnessing the forces that come into play in the moment of the performance, in its here and now, embodied by the acronym “HN”. 

Even the most extreme conceptions and the most experimental praxis, however, are part of my research into the affective resonance of sound. For this reason, I have on many occasions over the years engaged with the song form.

In past centuries, there was nothing unusual in drawing on traditional oral music, and the importance assumed by the Lied (which in German means “song”, “chant”, “melody”, “ballad”) in the output of even intellectually extreme composers demonstrates interpenetration between popular culture and high culture.

The song is, in reality, a territory whose boundaries are too well-defined to easily accommodate the HN System's exploration, but it offers fertile starting points, because it is in the nature of the song, at least in its traditional forms, to be born and to be disseminated orally, that is, performatively.

© 2014 Dario Buccino

La costrizione della nudità (2014) [album] | 7. La costrizione della nudità

MI NASCO. PER PIANOFORTE E LAMIERA HN. Nº 3 (2024)
For piano and HN steel sheet

Dario Buccino, piano
Giuliana Giandoso, HN steel sheet

Recorded at Casa degli Artisti, Milano

Mi nasco. Per pianoforte e lamiera HN. Nº 3 (2024) | Piano, HN steel sheet

Song: TEMA DELLA FORESTA DI ARDEN
Album: COME VI PIACE (2016)

Original music by Dario Buccino for the theatre play "Come vi piace" by William Shakespeare
Translated, adaptated and directed by Leo Muscato
A Teatro Stabile di Torino production

Dario Buccino, acoustic guitar

Recorded live at Teatro Carignano, Torino, by Claudio Tortorici
Mixed by Federico Calvara at Noise Factory

Photo by Alfredo Tabocchini
Graphics by Nicola Cioce

Come vi piace [Album] (2016) | 2. Tema della foresta di Arden | Solo acoustic guitar

Song: LA LOTTA
Album: COME VI PIACE (2016)

Original music by Dario Buccino for the theatre play "Come vi piace" by William Shakespeare
Translated, adaptated and directed by Leo Muscato
A Teatro Stabile di Torino production

Dario Buccino, acoustic guitar
Beatrice Vecchione, Daniele Marmi, Silvia Giulia Mendola, Eugenio Allegri, Michele di Mauro, Marco Gobetti, Mariangela Granelli, Laura Pozone, Giulio Baraldi, Matteo Baiardi, Vittorio Camarota, actors

Recorded live at Teatro Carignano, Torino, by Claudio Tortorici
Mixed by Federico Calvara at Noise Factory

Photo by Alfredo Tabocchini
Graphics by Nicola Cioce

Come vi piace [Album] (2016) | 5. La lotta | Acoustic guitar and actors

Song: CORO DELLE PECORE
Album: COME VI PIACE (2016)

Original music by Dario Buccino for the theatre play "Come vi piace" by William Shakespeare
Translated, adaptated and directed by Leo Muscato
A Teatro Stabile di Torino production

Beatrice Vecchione, Daniele Marmi, Silvia Giulia Mendola, Eugenio Allegri, Michele di Mauro, Marco Gobetti, Laura Pozone, Giulio Baraldi, Matteo Baiardi, Vittorio Camarota, sheeps
Mariangela Granelli, soloist sheep
Dario Buccino, acoustic guitar

Recorded live at Teatro Carignano, Torino, by Claudio Tortorici
Mixed by Federico Calvara at Noise Factory

Photo by Alfredo Tabocchini
Graphics by Nicola Cioce

Come vi piace [Album] (2016) | 8. Coro delle pecore | Sheep choir and acoustic guitar

Song: LA FESTA
Album: COME VI PIACE (2016)

Original music by Dario Buccino for the theatre play "Come vi piace" by William Shakespeare
Translated, adaptated and directed by Leo Muscato
A Teatro Stabile di Torino production

Dario Buccino, acoustic guitar
Beatrice Vecchione, Daniele Marmi, Silvia Giulia Mendola, Eugenio Allegri, Michele di Mauro, Marco Gobetti, Mariangela Granelli, Laura Pozone, Giulio Baraldi, Matteo Baiardi, Vittorio Camarota, actors

Recorded live at Teatro Carignano, Torino, by Claudio Tortorici
Mixed by Federico Calvara at Noise Factory

Photo by Alfredo Tabocchini
Graphics by Nicola Cioce

Come vi piace [Album] (2016) | 19. La festa | Acoustic guitar and actors

ANOTHER BRICK IN THE WALL [Roger Waters - Pink Floyd] (2021)

Dario Buccino, four-string banjo

Another Brick In The Wall [Pink Floyd] (2021) | Solo 4-string banjo

BIRDLAND [Joe Zawinul - Weather Report] (2001) 

Dario Buccino, acoustic guitar

Birdland [Weather Report] (2001) | Solo acoustic guitar

IL SIGNOR SQUALLIDO PERSONA [live] (2004)
For heavy metal band

Performed by 
RDB IL RESTO DELLA BAND
Emanuele Galbusera, voice
Samuele Rampani, guitar
Giovanni D'Avanzo, bass
Stefano Tedesco, drums
Nicola Di Buduo, graphics 

Recorded live at Area 51, Rozzano, 31st October 2004

Il Signor Squallido Persona [live] (2004) | Heavy metal band

MI NASCO. PER ELETTRONICA. Nº 1 (2024)
Stereo audio fixed media

ATTENTION: The composition is based on sub-bass frequencies (10-50 Hz). It is necessary to listen with high quality headphones or loudspeakers, ideally with a subwoofer.
________________________
[EGM 1 + FTI 20]

Mi nasco. Per elettronica. Nº 1 (2024) | Electronics

Francesco Luconi, soprano saxophone
Dario Buccino, electric guitar

All of me [jazz standard] [live] (2023) | Sop. saxophone, el. guitar

IL SIGNOR SQUALLIDO PERSONA [rehearsal] (2004)
For heavy metal band

Performed by 
RDB IL RESTO DELLA BAND
Emanuele Galbusera, voice
Samuele Rampani, guitar
Giovanni D'Avanzo, bass
Stefano Tedesco, drums
Nicola Di Buduo, graphics

Il Signor Squallido Persona [rehearsal] (2004) | Heavy metal band

Romeo and Juliet [Dire Straits] (2017) | Voice, acoustic guitar

IL NULLA NON È NEUTRO N° 1 
For HN steel sheet and choir

Dario Buccino, tenor HN steel sheet
Laboratorio Corale di Milano conducted by Susan Lovegrove Graziano

"Il nulla non è neutro nº 1" is composed following the principles of the HN System, and is based on the fusional encounter between the sound of the HN Steel Sheet and the human voice. The spectrum of HN Steel Sheet's sound has demonstrable affinities with the formant interference that characterise the choral sound. The subtle phenomena of counter-phases within vocal unisons reverberate together with the smooth resonances of the steel, and vice-versa. 

The part of the solo instrument is based on the minute parametrisation of the performative process. Physical actions (tango, shaking, traction, pushing, flexing, drum-rolls, flinging, rotating, etc.) involve the performer's whole body and articulate distinct ways of controlling the vibrational response of the steel. Each action is rigorously codified, including the movements which do not appear to be directly involved in the emission of sound but are necessary for obtaining overlapping and non-linear successions of sound events. The characteristics of instrument's construction allow for not only a frontal but a fully 3-dimensional interaction between the performer and the sheet of steel. 

The choir's part is composed to be structurally influencible: by the perception that each individual singer has of the other voices; by the sonic pressure coming from the steel sheet; by the acoustic characteristics of the environment; by the emotive tension of the moment. The intervallic and dynamic structure is as a result permeated by the sensitivity of the performers, thereby facilitating – via a process of reciprocal, experiential contagion – the emotional involvement of the listener. The affective tension becomes an integrated variable within the rules which govern the architecture of the composition, which assumes the characteristics of an overall manifestation of the forces at play here and now, "hic et nunc", HN. 

________________________________________­_

© 2015 Dario Buccino

http://www.dariobuccino.com
http://www.laboratoriocoralemilano.com/

Il nulla non è neutro nº 1 (2015) | Solo HN steel sheet, choir

ATTENTION: The electronics uses sub-bass frequencies (10-50 Hz). It is necessary to listen with high quality headphones or loudspeakers, ideally with a subwoofer.

MI NASCO. PER CHITARRA ELETTRICA ED ELETTRONICA. Nº 1
For electric guitar and stereo fixed media 
(2025)

Nate Chivers, electric guitar

Mi nasco. Per chitarra elettrica ed elettronica.  Nº 1 (2025) | Electric guitar, electronics

MI NASCO. PER ELETTRONICA. Nº 1 (2024) [short version]
Stereo audio fixed media

ATTENTION: The composition is based on sub-bass frequencies (10-50 Hz). It is necessary to listen with high quality headphones or loudspeakers, ideally with a subwoofer.
________________________
[EGM 1 + FTI 20]

Mi nasco. Per elettronica. Nº 1 (2024) [short version] | Electronics

ERO GIÀ A ME Nº 85 (y) (2023)
Fughetta for two HN steel sheets

Dario Buccino, HN steel sheets

Ero già a me nº 85 (y) (2023) | Two HN steel sheets

MAPLE LEAF RAG [Scotto Joplin] (2025)

Dario Buccino, four-string banjo

Maple Leaf Rag [Scott Joplin] (2025) | Solo 4-string banjo

E ALLORA, OGGI, LA MANO LA SCORGO SPIEGARE LE LINEE, ORDIRE PAZIENZA (1993-1994) [excerpt 1]
For violinist and vocalist

Renato Gatto, vocalist
Marco Rogliano, violinist

Sonopolis | Percorsi integrati nella musica d'oggi in Veneto.
Produzione Teatro La Fenice, Venezia, 1995.

The composition is written using the HN System®, a musical system that I developed in the early 1990s, consisting of composition, notation and execution techniques, based on the parameterisation of performative process.

The score traces a detailed web of physical constraints and experiential stimuli, which passes through the interpreter’s body and conditions it to different levels of behaviour. Such indications range from the most macroscopic to the most subtle, such as the contraction and relaxation of parts of the body that are not obviously involved in the sound action.

E allora, oggi, la mano la scorgo spiegare le linee [excerpt 1] (1994) | Voice, violin

E ALLORA, OGGI, LA MANO LA SCORGO SPIEGARE LE LINEE, ORDIRE PAZIENZA [excerpt 2] (1993-1994) 
For violinist and vocalist

Renato Gatto, vocalist
Marco Rogliano, violinist

Sonopolis | Percorsi integrati nella musica d'oggi in Veneto.
Produzione Teatro La Fenice, Venezia, 1995.

The composition is written using the HN System®, a musical system that I developed in the early 1990s, consisting of composition, notation and execution techniques, based on the parameterisation of performative process.

The score traces a detailed web of physical constraints and experiential stimuli, which passes through the interpreter’s body and conditions it to different levels of behaviour. Such indications range from the most macroscopic to the most subtle, such as the contraction and relaxation of parts of the body that are not obviously involved in the sound action.

E allora, oggi, la mano la scorgo spiegare le linee [excerpt 2] (1994) | Voice, violin

Composer, performer, teacher and designer of musical instruments.

His training includes composition studies at the Milan Conservatory, musical analysis and electronic music at the Civica Scuola di Musica in Milan, advanced courses in Europe, studies in the field of theatre and performing arts.

His works combine music composition, performance art, sound sculpture, and have been presented in Europe, the United States, China.

In the early 1990s he created the HN System® for the composition of physical, mental, emotional performative processes.

In 1994 he was a lecturer at the Internationale Ferienkurse für Neue Musik in Darmstadt, where he presented the HN System, defined by Heinz-Klaus Metzger as «the most surprising artistic invention of the last 15 years».

He designed the HN Percussion®, musical instruments that involve the performer’s entire body.

He conducts workshops at conservatories and universities.

His music is the subject of academic papers, theses, documentary films.

Dario Buccino

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