Paolo Galli studied composition at the Istituto Superiore di Studi Musicali Gaetano Donizetti (Italy) from 2001 to 2010. Subsequently, from 2011 to 2013, he attended a Master in composition at the Royal Conservatoire Antwerp, under the supervision of Professor Wim Henderickx. In 2014, he has been admitted as a doctoral student to the docARTES programme.
At the same time, he decided to pursue his career as a researcher at the Royal Conservatoire Antwerp by carrying out a research project entitled Speech/Words as sound material (Speech/Words transferred into musical sound in the second half of the twentieth century), whose main aim was the investigation of the interactions between the sonic properties of a text and the timbral characteristics of compositions for ensemble or orchestra.
In addition, he is currently engaged in a research project (Samenwerkingsproject AP-ART) entitled Voice as Instrument-Instrument as Voice in “Omaggio a Gyorgy Kurtag” by Luigi Nono, whose main aim is the investigation of those compositional, vocal and instrumental techniques, timbral and harmonic processing, which allowed Nono to explore the limits within which a voice can be instrumentally conceived and an instrument can be vocally conceived.
His deep interest in vocal music and linguistics is shown by some of his latest compositions such as Il mare come materiale for soprano and ensemble (2012), on a text by Giorgio Caproni, r-p-o-p-h-e-s-s-a-g-r for mezzo-soprano solo (2013), on text by E. E. Cummings. Furthermore, in 2015, he collaborated in the ME21 project ‘Deleuzabelli Variations’, coordinated by Dr. Paulo de Assis, by composing “…heraus in Luft…”, a comment on the Diabelli variations 21-28.
Started in 2014