After his studies at the Faculty of Physics (University "La Sapienza" of Rome), and at the DAMS Department of the University of Bologna, Pozzi obtained a diploma in “Composition with a Musicological Orientation” at the “Santa Cecilia” Conservatory in Rome in 1996, with a thesis entitled Proportional Analysis of Music; Project for a Critical Bibliography (advisers: Claudio Annibaldi and Giovanni Piazza). Later he participated in seminars on Schenkerian analysis held in Reggio Emilia and Rome by William Drabkin, and since 1993 he has participated in the research groups of GATM. From 1996 to 2007 he taught history of music in various Italian conservatories; from 1998 to 2006 he was an adjunct professor at DAMS University of Calabria (History of Music Theory, Theory and Analysis of Music, Elements of Harmony and Counterpoint) and from 1999 to 2005 he taught at the DAMS University of Roma Tre (Fundamentals of music composition, History of music, History of musical theatre, History of film music). Since March 2007 he is Adjunct Professor at the DAMS of the University of Calabria.

Since 1989 he participates in research sessions, seminars, round tables and discussions, and has held conferences and seminars in various universities and public institutions. He has written articles on musical analysis, on musical hermeneutics and interpretation, as well as essays and presentations on compositions of western classical music. In 1999 and 2000 he collaborated with the Biennale di Venezia, as editor of the catalogues of the musical sector.

From 1999 to 2002 he was an advisor of the Editorial Board of the Bollettino di Analisi e Teoria Musicale, and since 1997 he has been a member of the Scientific Committee of the GATM. From 1998 he has been the director of the revue Analitica. Online Journal of Musical Studies and a member of the Scientific Committees of the Conference of Music Theory and Analysis organized in collaboration with the DAMS of University of Bologna, the University of Tor Vergata and the Sagra Musicale Malatestiana.

In 2010 and 2011 he participated in the planning and organization of the VII European Music Analysis Conference (Rome). Since 2003 he is member of the International Advisory Board of the Rivista di Analisi e Teoria Musicale (Journal of Music Theory and Analysis) and since 2004 participates in the Scientific Committee of the series Manuali di Analisi e Teoria Musicale (Manuals Music Theory and Analysis), both published by the LIM of Lucca. Since 2012 he has been appointed President of the Group of Analysis and Music Theory.

Selected publications

 

  • Analisi schenkeriana. Per un'interpretazione organica della struttura musicale (with W. Drabkin and S. Pasticci), LIM, Lucca 1995.
  • Ermeneutica, analisi, narratività: tracce di un dibattito storiografico nella musicologia anglosassone, in “Bollettino del GATM”, 1997, vol. IV/1, pp. 29-52.
  • Catalogo della Biennale Musica 1999, La Biennale di Venezia, Venezia 1999.
  • Otto lettere inedite di Stravinkij: le vicende di una commissione veneziana, in Catalogo della Biennale Musica 1999, La Biennale di Venezia, Venezia 1999, pp. 145-167.
  • L'intuizione dell'esecutore e il rigore dell'analista: la prospettiva schenkeriana, in “Bollettino di analisi e teoria musicale”, 1999, vol. VI/1, pp. 83-111.
  • Annex 3/2000 Catalogo della Biennale di Venezia, Settore Musica 2000, La Biennale di Venezia, Venezia 2000.
  • Interpretazione musicale e concezione della forma: l'Impromptu per arpa di Gabriel Faurè, in “Diastema”, 2000, vol. I/14, pp. 7-33
  • The Theoretical Concept of Linear Progression and its Analytical Significance: The Largo of Arcangelo Corelli's Ciacona Opus II, no. 12, in “Analitica”, 2000, vol. I (January).
  • Music and Signification in the Opening Measures of Die Ideale, in Liszt and the Birth of Modern Europe. Music as a Mirror of Religious, Political, Cultural, and Aesthetic Transformations, Analecta Lisztiana vol. III, Pendragon Press, Hillsdale-New York 2003, pp. 215-236.
  • Aspetti formali, nuclei generativi e percorsi interpretativi in Rounds (1967) di Luciano Berio, in “Rivista di analisi e teoria musicale”, 2005, vol. XII, pp. 87-116.
  • Il problema della grande forma nelle Messe del Palestrina (primi due libri), in Palestrina e l'Europa. Atti del Terzo Convegno Internazionale di Studi (Palestrina, 6-9 ottobre 1994), Fondazione G. Pierluigi da Palestrina, Palestrina-Roma 2006, pp. 499-517.
  • Lo studio dell'improvvisazione jazzistica: lick e pattern nei soli di Enrico Rava e Chet Baker, in Popular Music. Fare, ascoltare, insegnare, edited by M. Privitera and F. Deriu, Aracne, Roma 2006, pp. 39-61.
  • Antonio Vivaldi, L'Epos, Palermo 2007; review by E. Selfridge-Field, in “Notes”, 2011, December, vol. 68/2, pp. 348-351. (In 2009 the book was awarded the Pomaricum. Premio Antonio Vivaldi, section Monographs).
  • Diminuzione, improvvisazione e virtuosismo: i trattati italiani della seconda meta' del Cinquecento e le nuove concezioni melodiche dell'eta' barocca, in “Rivista di analisi e teoriaMusicale”, 2008, vol. XIV, pp. 55-80.
  • Il primo Settecento e la Melodielehre di Mattheson, Riepel e Kirnberger, in Storia dei concetti musicali. Melodia, stile, suono, edited by G. Borio (Prin 2005-2006), Carocci Editore, Roma 2009, pp. 53-70.
  • György Kurtág, il maestro del piccolo gesto. Riscrittura e costruzione formale nell'Hommage à R.Sch., in “Rivista di analisi e teoria musicale”, 2010, vol. XVI, pp. 67-102.
  • Aspetti della multidimensionalità formale e della relatività nella musica del Novecento: il Quartetto per archi in due tempi di Bruno Maderna, in Con-Scientia Musica. Contrappunti per Rossana Dalmonte e Mario Baroni, LIM, Lucca 2010, pp. 149-193.
  • EuroMac VII European Music Analysis Conference. Programme and Abstract Book (con A. Cascelli), Iter Edizioni, Subiaco-Roma 2011.
  • "Charme des Impossibilités": Variety and Unity in Olivier Messiaen's Technique de Mon Langage Musical, in “Journal of Literature and Art Studies”, 2012, vol. 2/8, pp. 793-807.
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