I was front row for this and had my phone stolen during dojas set, thank you so much❤️

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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

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