[A1102] During the first months of study, due to a number of withdrawals (due to commitments or new arrivals or a better evaluation of the extent of work to do), participants were actually reduced to twelve attending, plus some occasional guests, both inside and outside the academy. Among the latter, some composers, performers and teachers, passing through or living in Rome, to whom we send our heartfelt thanks for your time and work that we have dedicated ( Aldo Clementi, Franco Evangelisti , Jesús Villa Rojo , Sergio Cafaro, Paolo Castaldi , Gérard Grisey, Luca Lombardi ). The degree of specific preparation of regular participants has been extremely varied, with regard to age, profession and type of musical activity carried out previously. For two of them (foreigners), who had already studied composition, the course has been made in the contemporary update on technical issues, ie it is configured as a kind of training, while others, such as graduates in piano, have asked to be informed about the theoretical foundations of the musical discourse, while others still, almost completely devoid of experience practice of music, even though its cultural interests, have sought a structural-analytical approach or even have directed their study in analytic sense-perception, leaving a wide margin considerations psychological, sociological, communicational. Some people wanted to experiment more in the sense that is proper, that is, experimentation, not so much of new teaching methods (as the official interpretation of the course), but also new ways of organizing sound material: a they not been asked for a report on the musical studies, but we tried to move at exactly the point at which they were concentrated at their musical interests, for example, from John Cage . Most likely none or very few (two or three) of the participants cultivate the practice of composition beyond the limits of a sideline, in some cases of simple pleasure, but it is for some to believe that the investigations on the communication ¬ faces hauls, carried out here will not remain without influence on their future activity, even when they do not place themselves at the center of a face orientation of studies, rather than the composition, the placement of music in the cultural framework of society. Not specific about the qualifications of the participants, there was, apart from the obvious prevalence of students (upper secondary, university), a marked promiscuity of strands of work: theology, industry, employment and so on.
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