Where Curiosity Meets Method,
and Ideas Take Form.
“The only thing I finish is my curiosity—projects are always under construction.”
Each project I launch starts from a simple premise: language is everywhere. Music is a language. Programming is a language. Manuscripts are languages frozen in ink. Whether I am writing code, deciphering a centuries-old score, or building critical editions, my approach is always the same: decoding, questioning conventions, and revealing hidden meanings—whether human or machine.
There is no universal language—every era, every culture, every technology has its codes. That’s why I move across disciplines: from philology and paleography to software development, source studies, and teaching. My projects are laboratories where doubt isn’t a flaw, but the engine of discovery.
Projects, for me, are not just results—they are living dialogues between past and future, text and code, tradition and innovation. If you’re looking for universal truths, keep moving. Here, we decode, innovate, and question everything.
Code is my second language—though, after three decades of C, Java, Pascal, Delphi (and a few exotic scripts), I’d say I speak “polyglot” better than most.
You might find my public GitHub a bit sparse for now. Don’t worry: there are plenty of active projects, most still in private folders and quietly brewing—ready to be released in the coming months, from tools for manuscript analysis in Qt/C++ to music-notation scripts and data pipelines.
I’m not married to any one language. I’ve written custom scripts for Sibelius (ManuScript), Dorico (Lua), and automated conversion tools for MusicXML and beyond—whatever gets the job done. If a language solves a real problem, it’s welcome in my toolkit (even if everyone has an opinion about which is “best”—spoiler: they’re all wrong and all right).
Bottom line: this is an open lab. New software, experiments, and teaching modules will appear soon. For now, feel free to browse, fork, or even criticize—just know the real fun is yet to come.
Musicology, for me, is a detective story—minus the clichés.
For over thirty years, I’ve been transcribing, editing, and engraving music: from the very first, ancient versions of Finale (long before it became a museum piece), to Sibelius and now Dorico.
If you’ve heard a forgotten opera at Caserta, Salzburg, Wildbad, Paris, or even the United States, there’s a good chance you’ve heard my work—scores, orchestral parts, vocal reductions, all prepared from scratch.
Recent highlights? The world premiere of Mayr’s Verter at the prestigious Philharmonic Hall in Warsaw, complete with a critical edition and public presentation. But the journey started long ago: from my early collaborations with Arkadia Records in Milan to going fully independent with Anna Trombetta, I’ve lost count of the pages engraved and the musical myths unmasked.
I don’t just “prepare” scores. I revive them for the stage, the studio, and—when necessary—the battlefield of historical truth. Need a score, orchestral parts, piano reduction, or the original libretto for your next musical resurrection? Drop me a line (you’ll find my address in the footer). No miracles—just thirty years of experience and a stubborn love for sources.
Some discoveries happen at the boundaries. My most recent obsession?
**Ink forensics**: building open-source tools to uncover the hidden stories of manuscripts—where every shade of ink might change the narrative.
Ferro-Gallic Ink Analyzer:
After years of research (with multiple papers—one published in the Journal of Forensic Document Examiners), I've designed an advanced system to analyze the color ranges of ferro-gallic inks using RGB triplets, statistical clustering, and next-gen background cleaning by adaptive masking. This isn't just “counting pixels”: the software can distinguish layers of writing, separate inks, and reveal retouches or suspicious interventions—even on problematic, centuries-old documents.
The goal? To give anyone—scholars, archivists, even skeptics—a **transparent, replicable, and open-source tool** for verifying historical sources and detecting forgeries. No more “trust the expert”—just evidence you can test yourself.
The project (coded in Qt/C++) was presented at the **International Graphonomics Society Workshop 2023** (IGSW), where the extended abstract passed a double-blind peer review.
If you care about manuscripts, truth, or just want to see digital forensics upend musicology and history, stay tuned—the code will be released for all.
Every mind learns differently. My educational projects aren’t just about inclusion—they’re about giving schools and teachers **real tools to make a difference**.
ICF Editor:
Developed in direct collaboration with medical and school professionals, this editor lets you manage the full range of ICF codes and goals, printing PEI (Individualized Education Plan) dimensions with precise references.
Every string is instantly translatable—right now in German, French, English, and Spanish.
Already adopted by multiple schools, it’s made to fit both the classroom and the clinical setting.
(Written in JavaFX—coming soon in C++/Qt, for even greater versatility.)
Special Needs Scheduling Tool:
Forget endless spreadsheets. My scheduling software, already used for two years at the Sondrio High School Cluster, takes regular class schedules as input and outputs a fully editable timetable for support teachers and personal assistants.
Built to save time, reduce errors, and actually help teams coordinate for real inclusion.
These aren’t just apps—they’re the result of hands-on work with those who face the real challenges, every day.
Want to know more, collaborate, or try them in your school? Just drop me a line.
My to-do list is never finished. Right now, I’m working on advanced OCR for Kurrent manuscripts, a new graphonomic analysis platform, and a series of book reviews that highlight what’s worth reading in music research—no time wasted on mediocrity.
The future? Even more open: more open source, more collaboration, more challenges to accepted truths. Stay tuned—the most interesting questions are always just ahead.
These highlights are just signposts. The real journey is always in what comes next.
None of this happens alone. My work is amplified by partners: researchers, developers, musicians, and institutions who aren’t afraid to question everything.
Highlights include projects with Anna Trombetta, international universities, the REC Foundation in Saint Louis, and cross-disciplinary teams where musicology meets technology.
Got a wild idea? Want to challenge an accepted truth, build something that doesn’t exist yet, or bring science and humanities together in new ways?
Let’s connect. The best projects are the ones you haven’t even imagined yet.
Contact Me
