During the academic year 2006–2007 she teaches the results of her vocal research included in the record Diffrazioni Sonore at "Crams School of Music" in Lecco (Italy), working for collective experimental laboratories,[48] concerts,[49] and individual lessons as well.
[55] They both include "theoretical line texts" which look like essays or manifestos; on one hand these essays explain the foundation of Daniele's musical activity, coming mostly from contemporary philosophy, in particular from the French philosophy by Gilles Deleuze, Jacques Derrida, Roland Barthes and the theoretic-linguistic vision by Pier Paolo Pasolini; on the other hand, as Dionisio Capuano remarks, "her theoretic will can hamper the total fruition".
I am referring specifically to the linguistic and morphological foundations of my work, by virtue of the relationship between, and coexistence among, different languages, including voice, poetry, writing, music, electronics, art, thought, man.
(Romina Daniele on the Rumpus)[37] In an interview on the Rockerilla magazine, she also mentioned film-makers and painters as influences for her musical work: "Fyodor Dostoyevsky and Marcel Proust, Friederich Nietzsche and Henri Bergson, Jusepe de Ribera and Francis Bacon, David Lynch and Michelangelo Antonioni.
[64][65] Daniele's thesis is focused on the relationship between music and image in the cinema, conducted through the detailed analysis of the French movie Ascenseur pour l'échafaud (1959) by Louis Malle, with soundtrack by Miles Davis.
[69] It is an analysis of Thema (Omaggio a Joyce) by Luciano Berio, described as the first electro-acoustic composition in the history of western music made entirely with voice and elaboration of it by technological means.
On the other hand, Daniele has been working on the essay Voce Sola (Solo Voice) for some years, a book describing her aesthetic and linguistic research in all fields of her activity, mostly focused on music and vocalism.
Romina Daniele put herself in front of the audience stimulating it and producing a thrilling and a charming sound with vocals creating dark/shining atmospheres throwing the listener in a lyrics-voice-music spiral that oblige us to confront with ourselves.
(Alessio Arena on Drexkode)[70][71] Although, as Moody remarks, Daniele's work "is not only complex, only demanding, only methodical, but, actually, though it has its challenges, it is also playful, sweet, sometimes funny, and, on occasion, rooted in an appreciation of vernacular music like jazz, blues, and pop.
She studied with Riccardo Sinigaglia, Alessandro Melchiorre, Giovanni Cospito; she has attended many workshops and seminars among which we can mention those of Meredith Monk, Trevor Wishart, David Moss and Annette Vande Gorne.
[31] As Romina Daniele said, both the record and the book Voce Sola – essay on the vocal discourse: indicates the opening, the space, the tension (and the yearning) of being in the size of the authenticity of existence, that is what we are and are looking for: to be at stake of one’s being into the being itself with everything of us into the world before it goes away in vain.