Interview: Federico Santini - composer of "Boysong" from the film Quest for Feilong (Part 2)

ROFFEKE: During the 2020 lockdown, the world saw how Italians stood in solidarity with each other through music on their balconies:“In the flat in front of me, a couple with a small child appeared,”…“The mother carried him in her arms while the father played a children’s musical toy. They waved over at us and we waved back. We’ve never met.” (“Balcony singing in solidarity spreads across Italy during lockdown” The Guardian).

Did the lockdown increase your productivity as a composer or did it lessen your productivity? How did you cope during this challenging time? How do you take care of your mental health?

FEDERICO SANTINI: At the school where I worked we started with remote lessons immediately, so the teaching activity never stopped. Unfortunately, not long before I had started having breathing problems which worsened during the lockdown, not being able to rely on medical care. At a certain moment, as directed by the doctor who was worried it could be Covid (the symptoms of the disease at that time were not yet very well known), I had to isolate myself in a couple of rooms for about a month and my activity during that period had stopped completely. During the rest of the lockdown my composition activity remained more or less the same as before, even if the cooperation with the musicians who had to record the songs from the soundtrack took place online.

 Teaching activity became more difficult during the lockdown because the remote learning triggers a series of critical issues. Feedback with students is more difficult on screen. It is difficult to understand if the topics explained are clear and it is also more difficult for the students to interact with the teacher.
For me in that period, communication with loved ones was very important, especially with the Chinese harpist, Siyun Shen, whom I spoke about above [in part 1], with whom I had established a deep friendship. Especially during my period of isolation, Siyun was very close to me and we spent hours every day communicating via Whatsapp, especially with messages since my breathing problems made verbal communication a little difficult.

ROFFEKE: Your thoughts on artificial intelligence and music?

FEDERICO: As far as I'm concerned, I don't use artificial intelligence in composition, I like to take care of every aspect personally. So far I haven't found any really interesting compositions created by artificial intelligence. I think it does well in low and medium-low level compositions but so far I haven't heard any interesting music. However, when A.I. finally will be able, to write some beautiful music, and I think it's a matter of time, I will be very happy to listen to it. But I believe that there are big risks for composers due to the numerous instances where A.I. has been involved in matter of plagiarism. Artificial intelligence operates without awareness of what it means to copy a work, and therefore, which is why many artists are complaining about this.

ROFFEKE: Advice for aspiring composers?

FEDERICO: First of all, I would recommend an in-depth study of the subject. Searching for scores and analyzing the songs you like is a useful tool. Look for qualified teachers to take lessons from. Studying alone is not enough, it is useful to play in many different contexts and enrich yourself with many experiences. It was useful to me, in addition to playing in classical ensembles, being part of rock and pop bands, accompanying Gospel choirs, and so on. I think it is important to make yourself known by interacting with other people as much as possible. Avoid contexts for which you don't have time to prepare, you risk making a bad impression. I would also recommend being fair to other composers and protecting your works before sending them out.

(You can read part 1 of the interview HERE) 

Interview: Peter Böving - Writer, Director, Producer of The Heaviest Order (Part 4)

ROFFEKE: In part 3 of the interview, you said: " In my first "life," I was a musician – 25 years on live stage..." How has being a musician helped you in your work as an animator/filmmaker?

PETER Böving: I can highly recommend this sequence :) As a musician, you learn and practice not only the instrument and theory but also something extremely helpful in filmmaking: a sense of timing! One aspect of my cinematic work focuses on poetry films, with an emphasis on sound poetry and music. I have tested the texts of the poetry films created so far live on stage in various programs over many years. Audience reactions are, of course, an incredible gift: from one performance to another, you can fine-tune your performance, music, and intensity. How many filmmakers have the opportunity to collect so much feedback in the pre-production phase? However, it would be dishonest of me to claim that 25 years ago, I already knew I wanted to incorporate all these experiences into film productions later on. Sometimes, one is also lucky, and things just come together that seemingly belong together.

 

ROFFEKE: Your profile on crew-united.com says that in 2010 you "founded the animation studio "Kloetzchenkino"; from 2006 to 2011 you "held various commissions in the advertising film and music film industry"; in 1999, you "founded the audiobook label "Shower Records"...published numerous CDs in the field of literary dubbing, funk and jazz in the distribution of EICHBORN"; from 1993 to 2003 you "made extensive tours with your own literary program, visited the Goethe-Instituts in Germany, Switzerland, France, Scandinavia, the Baltic States and Russia"; since 1983, you have worked as a musician and since 1990, you have worked as "a composer in the field of theater music, mainly in North Rhine-Westphalia." How do you maintain work-life balance? How do you take care of your mental health?

 

PETER: This may initially seem like a lot to read. However, I've been around for quite a few years, and all these activities are already a bit scattered. It might sound strange when I say that, for my taste, I'm doing far too little. That's exactly what I've been thinking since I became aware that I might have been born into one of the most significant turning points in human history: the digital revolution! There aren't many generations here in Germany that have held printing plates, hand-cut Super 8 films, or learned their craft in an analog studio and later adapted to the digital world. As I mentioned before, it's crucial for me that in a semi-digital animated film, you can almost "smell" the analog production moments. However, this can only be achieved if you feel at home in both worlds. It's the grace of the timing of my birth: a privilege and responsibility at the same time! In just a few years, as AI sets out to conquer the last remaining spaces in cultural creation, people might envy us and possibly wonder why, in this unique time, we produced so much mainstream and had so little courage to develop something exciting.

 

 

Interview: Federico Santini - composer of "Boysong" from the film Quest for Feilong (Part 1)

ROFFEKE: In your “About Me” page on your website, it is mentioned that you teach piano and music education at middle schools, high schools and music schools. What would you say is the importance of music education in middle school and high school?

FEDERICO SANTINI: I believe that musical activity has an important contribution in strengthening cognitive, emotional, linguistic, motor and relational skills, especially in developmental age, where the brain is still in the training phase. This is why I believe music education in schools is important. During the musician's activity, many brain areas are involved, from the auditory to the visual, from the motor to the language. The musician has to coordinate the movement quickly on the basis of what he finds written in the score. Furthermore, in addition to listening to his own playing, he must pay attention in real time to what others are playing, in order to play in time, to establish a joint interpretation of phrasing, etc.

Neuroscientists who have conducted studies on the subject, claim that musicians' brain connections are particularly developed as different brain areas are mobilized which must process stimuli of different nature. In addition, these stimuli and actions also involve the two different hemispheres of the brain, thus strengthening the corpus callosum which acts as a connection. Furthermore, the music, by involving the emotional sphere of the individual, especially at an age where this is not yet fully mature, guides him to greater awareness and maturation of the same. In the school program I often also include the topic of music used for advertising purposes. The advertising message, packaged in such a way as to appeal to emotional involvement, generally sees the youngest people as the most vulnerable because they still lack defense tools, so I try to explain some of the mechanisms to them, especially from the point of view of the advertising jingle.

Music is also often recognized as having a social and aggregative role. In fact, I have participated in several projects whose main objectives include not so much the students' musical performance but socialization and integration in areas and situations of social hardship. Music urges us to listen to others in order to work in unison and each member of the group or orchestra is important, each one with their part. In essence, I believe that musical activity within schools includes various aspects and substantially integrates the individual's education.

ROFFEKE: You have composed soundtracks for theatrical performances, advertisements, festivals, video games and short films like “Quest for Feilong” (song: Boysong). What elements of composing remain the same across all these different types of media and what elements differ, for example, differences between composing for a video game and composing for a short film?

FEDERICO: I think that the basis for all composition activity should be a systematic and in-depth study of harmony and composition in general. I think training based on classical principles is indispensable, but for a wider view I believe we need to grasp the harmonic principles linked to different techniques and deepen into the specific languages of many genres. In general, the different techniques of composition learned have served me for all kinds of composition.

The main differences, however, regarding music for video games compared to that of short films concern the interaction on the part of the player. When I write for short films (whether animated or live action) I have the precise timing of the scene and I can work on the synchronization between music and images. This happens both if the complete film is already provided to me and if I work with the animatic. In a video game, however, I have to predict the player's possible actions during the composition phase and make sure that the music can adapt accordingly. This can be done in a more or less complex way. A very simple example (but in my opinion not always effective) is the crossfade: one music fades out while the other is fading in. A more complex technique is to create a bridge between two different pieces of music. It is a harder task where several points must be foreseen in which the first music can transition to a short jingle that connects to the second music. Another method is to create a soundtrack with different rhythms and then move from a quieter mood to a brighter one.

Another substantial difference is the length of time the soundtrack is listened to. While a film generally lasts from an hour and a half to three hours, a video game can be played for more than 80 hours and the risk of monotony is very high . To overcome this, there will have to be moments where the music must remain as a constant background and then rise in the salient moments where it becomes more relevant.

ROFFEKE: Boysong is from the short film Quest for Feilong: “…created to promote integration in Prato where a strong presence of the immigration phenomenon takes place. Students of different ethnic groups participated, together with their teachers, in the making of the film, which touches on the issue of migration/integration.” Apart from this project “Quest for Feilong” and you teaching music abroad, how else has your musical journey helped you to interact with people from different communities and cultures?

FEDERICO: I went to a conference in Pakistan a couple of months ago to talk about music in education and I had the opportunity to meet colleagues teachers and musicians with whom we exchanged ideas, ways of working and organizing school. Musical activity also allowed me to play with people from different cultures. For a few years, for example, I have been playing in a duo with a Chinese harpist who in the meantime has also become a dear friend. I had the opportunity to collaborate with directors from countries other than mine or to play during exhibitions with artists of different nationalities.

(Look out for Part 2 of the interview).