Silvia Rosani

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'How the Use of Music Technology can Contribute to Involving New Audiences in a Low-Hierarchy Performance Environment that Disrupts the Boundaries between Composer, Interpreter and Audience' in Riffs (2020)

Music Score: Marija all'alba, published by Diaphonia Edizioni (Agosto, 2018)
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Music scoresT-O, published by The Last Books (March, 2017)
Music scoresDie Elbe, published by The Last Books (March, 2017)
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'The Potential of an Electronic Detour' in IAWM, vol.23 (2), pp.23-24 (Fall, 2017)

Emergency Index vol. 6 (November, 2017)

'An individual note of intersectional projects' in ICMC Array Winter edition (2017)

Contribution to the first online yearbook Schlossghost 1 of Akademie Schloss Solitude (September, 2016)
Nonhuman Political Voices, available at

Mozarteum NEUE MUSIK (2010-2015)
CDOmertà, for voice and live electronics - Wiebke Wighardt and Silvia Rosani

Political Perspective, e-journal of the University of Manchester

                   «Rosani's paper not only traces the influence of politics on the compositional process over the nineteenth and twentieth realizes this relationship in her own compositions. She describes her compositions about the Italian politics of immigration and corruption, along with their relationship to illegal organizations, as an “aesthetic of resistance”. This profoundly innovative paper reveals how Rosani experiments with elements such as choruses, stage action, rhythm, pitch, resonances, and spectral analysis and performance spaces in order to “mirror” the political content of a text. However, what she argues is that whilst her compositions are inspired by texts for instance by Roberto Saviano or Cesare Pavese that, “the written word becomes sound an audible metaphor of the unheard, giving voice to those who can no longer speak or never did”. In this sense she not only challenges who can speak but what counts as speaking.»
by Emmy Eklundh and Rachel Massey

"Resistance music finds new shapes", 2013, vol.7, issue 2