Research and Formative Activities
2022 - Oltre Le Note
In July 2022, was published Tony Carnevale’s fifth publication, “Oltre le note – un approccio non razionale alla musica” (“Beyond the Notes – A Non-Rational Approach to Music,” Celid Editions – ISBN 9788867892389)
What is music? Are musicians born or made? What is creativity? What is imagination? What is expressive-representative thought? Where does musical invention come from? What is composition? And improvisation? Can anyone make music, play, or sing? Is it a privilege or a right? Can art and profession coexist? Can you rediscover lost sound, your passion for music, abandoned due to negative experiences? Can music be experienced differently? Can one learn faster?
These and other questions are the starting point for a research in which philosophical reflections on how to think about music go hand in hand with practical tips and “craftsmanship”: on composition, arrangement, interpretation, training, and more, with artistic, methodological, and historical insights, particularly focusing on the psychological and psychoacoustic aspects of the themes discussed. Psychodynamic Music Mentorship is the culmination of this long research and practice that gave rise to the ANORA method, an acronym for Non-Rational Approach, a method aimed at researching and developing one’s original artistic identity, both as a creator and performer.
Based not only on a long artistic and professional experience but also on in-depth research in psychology, psychoacoustics, and the arts, particularly in creative processes, the human reaction to sound, and expressive-representative thought, it offers an excellent opportunity for anyone who wants to develop their abilities—perhaps still unknown—in much shorter times than traditional education. Thanks to a formative process that occurs through relationships, consistent with a view of education/development based on human creative relationships.
the ANORA method assumes that music is for everyone and that anyone can make music, according to their possibilities, with the socio-political implications this thought entails:
it’s not a race to be first, but rather about “reaching” others through sound.
“Oltre le note – un approccio non razionale alla musica“(Celid), presented at the Turin International Book Fair in 2022. Subsequently, it was presented at the La Nuvola exhibition space in Rome, as part of the ‘Più libri più liberi’ event, and at ‘Sassi’ Multimedia Library in Fabriano.
This text constitutes a vademecum for every musician or enthusiast, as well as a valuable tool for trainers and teachers.
Since April 2016, Tony Carnevale has been President of the Cultural Association ‘ANORA’.
2020 - Formazione Musicale Psicodinamica
- “Formazione musicale psicodinamica” in 2020 (YCP – ISBN 9788831614191),
2019 - Poetica, Ricerca e Formazione Musicale
- “Poetica, ricerca e formazione musicale” del 2019 (YCP).
2014 - Il Suono Ritrovato
- “Il suono ritrovato“ (Universitalia Editions – ISBN 9788865076347), which saw a second edition in 2015 (Scientific University Editions), the third in 2017 (EUS – ISBN 9788832880069), and the fourth in 2020 (YCP – ISBN 9788831658546). The book was presented on July 18, 2014, at the Scuola di Musica di Testaccio Concert Hall.
2010 - Il Pensiero e Il Suono
On 23 June 2018, at the Elsa Morante Library in Rome, he participated as a speaker in the conference “Il pensiero e il suono – una ricerca sulla musica e sulla formazione artistica”.
On November 24, 2018, he was invited as a speaker at the study day “Musica: Wolfgang Amadeus Mozart” organized by the Venti Secondi Association.
His psychological and psychoacoustic research, blended with his personal experience as a musician, led him to develop a new vision of music and education/mentorship, which resulted in the idea of a different formative method and the development of musical thinking: ANORA, an acronym for “Approccio NOn RAzionale” (Non-Rational Approach), widely developed and discussed in his books:
- “Il pensiero e il suono – un approccio non razionale alla musica“ (IML Editions) Published in 2010 and presented in Rome first at the Scuola di Musica di Testaccio and later at the Nero su Bianco Bookstore.
plans and conducts the Workshops of “Musica Originale e Composizione Applicata”, “Arrangiamento e Produzione Musicale” and “Live & Studio Performance (Direzione Artistica)” at the Testaccio Music school in Rome, as well as the independent Laboratory “Oltre le note”, which also receives the prestigious patronage of the SIAE and NUOVOIMAIE collecting societies.
On 9 April 2010, he held the Open Class on musical conception and composition, as part of the event “Tempi moderni” to Atelier Meta a theather in Rome
In 14 March 2012 Artistic Direction of the event “Io sto con amore e psiche – voci e suoni in difesa della libreria Amore e Psiche di Roma”with the participation of several artists.
In the same year at the Greek Theatre in Rome, he attended as trainer the event “Fai di un’Arte il tuo mestiere”: “Il suono e il movimento – Analisi Musicale e nuove metodologie di approccio alla Musica”, an internship for choreographers.
On 9 February 2013 he spoke at the event “Ora noi vogliamo” held at the Nuovo Teatro Colosseo – Rome on the condition of music education and the music professions.
During the same year, he was invited as a consultant and artistic/technical director of the regular column !Tony Carnevale. The skilful master analyses your demos ” on the website www.emergenza.net.
2003 - Il Sogno Della Farfalla
In 2002, he spoke at the conference and debate on human sensitivity, “Music and Psyche,” held at the “Il Cantinone” Space in Colle di Tora
In 2003, he published a very important new article, “Oltre i suoni materiali” (“Beyond Material Sounds”), for the psychiatric journal Il Sogno Della Farfalla (New Roman Editions). In it, he discusses music as a psychic experience, delving into its inter-human communicative aspects.
In 2009, he wrote the article “Memoria d’autore” (“Memory of the Author”), published by Contrappunti – Centro Studi per il Progressive Italiano.
In the 2000/2001 and 2001/2002 academic years, he taught the Laboratory of Industrial Music Applications at the L. Refice Conservatory in Frosinone, the first laboratory on original music applications and music production activated in an Italian Conservatory.
““Then, one day, life confronts you with something unexpected, something we always tend to push far away from us: a terrible diagnosis—I could die. A month spent living with this possibility. It was a bad month, but it forces you to think like many bad things. And the thought that puzzled me the most was this: if I die, the music remains, but where does everything I’ve learned on my go?
So, just as I had decided to study music at 15, at 36, I decided I had to leave something of my experience to others—those things that couldn’t be found in books or traditional teaching methods, not even in those that pretend to be alternatives.
I had to help others find their original sound and artistic identity. A few years later, I launched the first Laboratory—ironically, in a conservatory.
I had achieved a peculiar goal I only realized later: I had brought into a conservatory what I had wished to find when I entered as a student.
That diagnosis, thankfully later proven to be wrong, became the starting point of an unstoppable process: the Laboratory continued to exist because I felt the importance of sharing my experience with others. Perhaps because I had realized that not everyone with a passion also has that inexplicable strength to stand alone against certain parents or the countless Benedetti Michelangeli the world is full of.
Ho pensato che insieme, invece, ce la potevamo fare.”
(Tony Carnevale)
These reflections grew out of a deep fascination with human beings’ inner world, with music serving as a pathway to understanding.
This journey led him to the practice of Collective Analysis, based on the research and methods of psychiatrist Massimo Fagioli.
Since 1985, Tony Carnevale has been conducting research that has led him to publish many articles on the relationship between music and the humanities, with a particular focus on the psychological aspects of music perception.
His essay-writing career began in 1986 with the article “Musica colta, musica industriale: antitesi o schizofrenia dell’arte?”, followed by “Il Maestro E Il Musicista” n October of the same year, and “Sentire“, ) in September of the following year, published in the journal “Narrasogno”, a quarterly publication of Science and Art by La Farfalla Editions.
