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ERRANDO NASCE LA MUSICA

"Errando è l’effetto dei miei viaggi fisici e onirici e anche dei miei errori" dice il chitarrista e compositore Giovanni Seneca parlando del suo nuovo cd. "Spesso - prosegue - i suoni sono nell’aria. Durante ogni viaggio li percepisco, lontani ma familiari. Le melodie risuonano come nenie dell’infanzia o prepotenti come un profumo. Indossando gli abiti di un detective del suono lascio il corso principale della città e mi inoltro nel dedalo di viuzze che hanno resistito per secoli alle teorie urbanistiche, mi ritrovo così seduto alla terrazza di un ristorante qualsiasi di fronte al più bel panorama del mondo, distratto dalla quiete e dalla bellezza quei suoni vanno giù tra un boccone e un altro e sembrano non lasciare traccia, dimenticati come il sapore delle pietanze, l’odore delle spezie, il colore dei tramonti. Altre volte le melodie mettono le ali e i suoni li sorvolo guardando giù: sono sempre lì insieme ai colori e al profumo di spezie esotiche. I ricordi e gli oggetti che riporto dai viaggi, lontani dal loro contesto sembrano sbiaditi e fuori posto, ma i suoni che ho percepito restano dentro di me come le molecole dei cibi profumati e cucinati diversamente che ho assaggiato. Come un’alchimista manipolo le melodie facendo vibrare le corde del ricordo. E’ questo il momento in cui comincio a suonare le mie chitarre, per cercare di rievocare quei suoni e quelle sensazioni che ho vissuto e amato. Profumi, suoni e calore allora diventano qualcosa di tangibile”.
E' partendo da qui che Seneca crea quelli che lui stesso definisce "piccoli universi" scaturiti dalla chitarre che suona ogni giorno: "strumenti magici rapiti da luoghi conosciuti che rivendicano la propria appartenenza a popoli e culture diverse e ricordano le sonorità sepolte nella nostra memoria".
Errando è il suo quinto album: quindici brani per chitarra sola, da lui composti ed eseguiti su tre modelli di chitarre speciali: classica (Ignatio Fleta-Barcelona - Spagna - costruita nel 1971), battente (Rosalba de Bonis-Bisignano - Italia - costruita nel 2012) e flamenca (Jesus Bellido-Granada - Spagna - costruita nel 2005).
Il cd è stato registrato negli studi “Pink House” di Monsano (An) ed è pubblicato dall’etichetta Rara.
E' scaricabile on line all'indirizzo http://giovanniseneca.believeband.com/ mentre il supporto fisico si può chiedere alla casa discografica www.rara.it. Dal 5 aprile sarà in vendita anche alla libreria Feltrinelli di Ancona.
Info: www.giovanniseneca.it - www.rara.it

ANDRE' MARTINET/7 ARMONIA E' ECONOMIA

Conversazione con André Martinet
André Martinet/1 Communication is our basic relevancy
André Martinet/2 Language articulates what we feel into a succession of items
André Martinet/3 Pregiudizi linguistici
André Martinet/4 Cosa c'è dietro le parole
André Martinet/5 La lingua non è simmetrica 
André Martinet/6 A volte le parole non bastano

Nikolaj Sergeevič Trubeckoj
(Mosca, 15 aprile 1890 – Vienna, 25 giugno 1938)

How did you start studying linguistics and which of your professors influenced you the most?
I started as a child. I discovered phonology by myself, before prague, at the age of six. I remember things very well because actually my parents were teachers. They were school teachers from one place to another, therefore I can always locate my experience, at this point, between that age and that age. And thus I know that between the age of five and seven, around seven let's say, I solved a number of problems of French phonology, not knowing it and, of course, I didn't mention it to anybody: people would have thought I was crazy, because in those days, that a kid, seven years old, could ask such questions must have sounded ridiculous. Actually my mother would have understood, because she was pretty good at it, but I didn't know that, so I didn't mention it to anybody.
That's the way I started. Therefore, when later on I read the Prague things I said: "That's fine: they give me tools, they give me the principle of relevancy", which is just the principle with which I myself operated, but I had no names for it. I was happy to have a name. i could say: now, this is the way I operated when I was a child. My problem all my life has been the fact that I had been thinking about things before people gave me the words for it. i could not at the age of seven invent a word for phonology, but I could raise problems.
My first problem was: do I pronounce the same thing when I say [gaɲe] and [panje]? My answer was: I don't, "I" don't, but maybe other people confuse, and that's true. This is a sounding problem and it's being eliminated in French at the present and not the way I thought it would be, namely the way people did in Savoy, my native province: by confusing the [n] in favor of the [ɲ] sound([paɲe] just like [gaɲe]), but the reverse: they are saying [ganie] just like [panie], which is interesting, because the number of cases in which you have in French the succession /n/, /i/, is much more frequent than the situation when you have /g/, /n/, therefore it's economy. Economy is extended in that way. This is just a demonstration of the way I approached the problem.
And, of course, later on, when I read the Prague things, I said: "well, beautiful, they gave me the tools". So I established contacts with them and that's the way I worked. But I never was exactly in agreement with anybody specifically. I was very close to Trubeckoj. He was the closest to me, but at the same time Trubeckoj was, what I'm not, a mystical man, you see... Very strange. I knew that because I talked with his son-in-law: he told me he was a mystical man. And he operated with the notion of harmony, vowel-harmony, presenting a nice system, that would be the proof of the harmony. But to me harmony doesn't mean anything. It's economy.
You see, a system like that is what? It is never regular, it is just economical, because it takes advantage of all the combinations of different possibilities. That's the reason for which there would be an orientation in language to use it, because it is economical to re-use the system, but not beyond what is economical. In other words, you can observe that some combinations, some theoretically possible combinations, are no good, because they are too difficult to make or to maintain.

ANDRE' MARTINET/6 A VOLTE LE PAROLE NON BASTANO

Conversazione con André Martinet
André Martinet/1 Communication is our basic relevancy
André Martinet/2 Language articulates what we feel into a succession of items
André Martinet/3 Pregiudizi linguistici
André Martinet/4 Cosa c'è dietro le parole
André Martinet/5 La lingua non è simmetrica

From an interdisciplinary point of view, what is, in your opinion the role of linguistics in the analysis of human communication?
After all, we start studying languages, but of course we have to remember that languages are not the only systems. There are other systems than languages for communication. It does't say communication but that's what it means. And, why not start from that? So, fine, but as a matter of fact, people started studying languages before they could imagine or think of other systems and usually it's in relationship with linguistics, with languages, that they invent other systems. If, for example, on a ship people want to communicate with another ship, they would use language, but they can't. So they have to find a way out with signals and flags, etc. There you have your semiotics.