Today we’d like to introduce you to Giulio Della Pietra.
Giulio, we appreciate you taking the time to share your story with us today. Where does your story begin?
I’m Giulio, a 23-year-old Italian composer. I moved to Miami less than a year ago, and I’ve already developed a strong connection with the environment here. Since August 2025, I’ve been studying and working at the University of Miami as an instructor in Media Scoring and Production program, while continuing to develop my own artistic projects in parallel.
I consider myself very fortunate to be here. Miami is an exceptionally open and supportive city for artists, and for the first time I truly feel that my work is recognized and valued. A large part of that opportunity comes from my mentor, composer Carlos Rafael Rivera, whom I connected with last year and without whom I likely wouldn’t be here today. At the same time, I owe a great deal to my family, who continue to support me from Italy in every decision I make.
My artistic path began in Italy, in my hometown of Prato, near Florence. I attended a music-focused high school, where I was deeply influenced by my teacher, Tommaso Rosati. Alongside a solid foundation in classical music, which is almost unavoidable for an Italian composer, I was introduced around the age of 15 to the use of technology as a creative tool through collaborative workshops held at school. Those years remain some of the most formative and inspiring of my life.
After high school, my life became something of a pendulum for about three years, moving back and forth between the Conservatory of Rovigo and the University of Florence. I spent countless hours studying and composing, often traveling several hours a day by train between the two cities. During that time, I also pursued a degree in political science out of personal interest, eventually graduating in both fields in the summer of 2025. That academic experience gave me a deeper awareness of the broader socio-political situation in Italy, which I perceived as increasingly unstable for academy and arts in general, this perspective strongly influenced my artistic voice.
That sense of uncertainty pushed me to write more intensively, making 2024 a particularly productive year. I released my first album, Multipli, along with several other works, including Flusso in Trio and Rumore Antico. These projects became an important turning point, helping me gain visibility beyond Italy.
Today, I have the opportunity to compose music for independent filmmakers across the United States while continuing to develop my personal work. As an emerging artist, I’m still at the beginning of my path, but I’m focused on growing, refining my voice, and reaching a wider audience.
We all face challenges, but looking back would you describe it as a relatively smooth road?
It definitely hasn’t been a completely smooth road. One of the main challenges has been navigating uncertainty, both personally and professionally.
For a few years, I was essentially balancing two demanding paths at once, studying composition at the conservatory while also pursuing a degree in political science. That meant constant travel, long days, and very little stability. It was rewarding, but also mentally and physically demanding, and there were moments where it was difficult to stay focused and consistent.
Another challenge has been the transition from Italy to the U.S. Moving to a new country, especially in a field like media scoring, means starting over in many ways, building new relationships, understanding a different industry, and finding your place in a highly competitive environment. There’s also the distance from family, which is something you feel more at certain moments than others.
That said, I see these challenges as part of the process. They’ve pushed me to be more disciplined, more adaptable, and more aware of what I want to build long-term.
Appreciate you sharing that. What else should we know about what you do?
I’m a composer working primarily in film and media scoring, with a focus on blending acoustic instruments and electronics. My work is rooted in a classical background, but I’m particularly interested in how technology can expand the expressive range of traditional writing, especially in narrative contexts.
Most of what I do revolves around collaborating with filmmakers, understanding the emotional architecture of a scene and translating that into a musical language that supports the story without overwhelming it.
Alongside that, I continue to develop personal projects, which are often more experimental. These works allow me to explore ideas more freely, particularly in terms of texture, form, and the interaction between acoustic and electronic elements. That research naturally feeds back into my work for film.
One project I’m particularly proud of is my first album, Multipli. It represents a turning point in how I approached composition, both technically and conceptually, and it helped me start building connections beyond Italy.
In the coming months, several short films by independent directors featuring my music will be released. These are projects I’ve been deeply involved in, and they represent an important step in my development as a film composer. I’m particularly proud of these collaborations, as they reflect the direction I’m building toward and the kind of storytelling I want to be part of.
What probably sets me apart is this dual approach: on one side, a strong foundation in classical composition, and on the other, a continuous interest in technology and contemporary practices. I tend to think of music less as a standalone element and more as part of a larger system, whether that’s a film, a visual narrative, or a collaborative process.
We’d love to hear about how you think about risk taking?
One of the biggest risks I’ve taken was deciding to fully commit to music while also pursuing another academic path at the same time. For a few years, I was balancing two very different directions, without knowing which one would eventually define my future. That uncertainty was not always comfortable, but it forced me to be intentional about the choices I was making.
Moving to the United States was another significant step. Leaving a familiar environment and entering a new industry, where you don’t yet have an established network, means accepting a certain level of instability. At the same time, it was a necessary move if I wanted to work more directly in film and media scoring.
In general, I see risk as something that needs to be measured but not avoided. In a creative field, staying in a completely controlled environment can limit growth. Most of the meaningful opportunities I’ve had so far came from situations where there was no clear outcome, but where the potential for development justified the uncertainty.
Contact Info:
- Instagram: https://www.instagram.com/giuliodellapietra/
- LinkedIn: https://www.linkedin.com/in/giulio-della-pietra/
- Youtube: https://www.youtube.com/@GiulioDellaPietra
- Other: https://open.spotify.com/intl-it/artist/5OelwwQ43mRfW4Wu8ax42Y?si=EIaRiOKrQ1amgAQO-FhO6A
Image Credits
Izzi Guzman
