In Antonioni’s cinema, music stands as a presence of great interest, from the documentaries to the latest
movies. However, it is a «realistic music», as the director himself significantly defined it. In fact, he used the noises and electronic sounds in a way that was far from the stereotypes that raged in the Italian cinema of the
period. Antonioni, therefore, does not deny the importance of the soundtrack, but rethinks its functions and
status. However, the evidence of some choices, such as noises, sound manipulation and diegetic music, usual-
ly singled out as the most obvious style of his poetry, should not pass the presence of the musical comment unnoticed. It is a unique and original presence, for which he used many composers, from Giovanni Fusco to the Pink Floyd. This essay will now consider the soundscape of Antonioni’s films from Cronaca di un amore to Eclisse, in which the director’s experimentation is most evident.
