MAIN         ABSTRACT          INTRODUCTION            FIELDWORK             METHODOLOGY           REFLECTIONS            RESULTS             ACKNOWLEDGEMENT    __________________________________________________________________________________________________________________________________________

IACKNOWLEDGEMENT 

This work, its development and shape, have been supported by the priceless contribution of my main supervisor, Thomas Tellevik Dahl, whom, throughout my entire research period, accompanied me while navigating doubts, curiosities, fantasies, and mistakes—which I believe do not exist at all*— and through thoughtful conversations.

To complete the journey, I cannot thank enough my second supervisor, musician, drummer, and composer Terje Isungset. Terje has been a crucial reference throughout the development of my project. His knowledge, unique approach to music, and deep understanding of Norwegian folklore and musical traditions, including rhythm, have nourished my imagination and sustained my approaches, ultimately helping me become an independent sound seeker.

Friends and supporters

Vinicio Sanna for helping me with learning the Launeddas and for crafting the Fiuda and Punto D´Organo, Silvia Piras for the book on Sardinia folk music, Francesco Medas for his knowledge on "battimenti" he shared with me, 

*It is worth stealing a little space here to reflect on mistakes: they simply represent a premature stage of development. Worst of all, if accepted as such they would align with preconceptions and subjective, knowledge-based opinions that lack foundation, as they are non-participative in the context of my project. Therefore, a mistake is not a take that has been taken wrongly, it´s a take that need its time to hatch.(Tagliasacchi Masia 2025)