He was a founding member of the Italian progressive rock group Pierrot Lunaire in the early 1970s, along with Arturo Stàlteri and Gaio Chiocchio.
[2] From this year on, he started to dedicate his attention to the world of jazz, in particular in Rome, collaborating with musicians such as Tony Scott, Giulio Capiozzo and Jimmy Owens.
[6][7] Caporaletti's works have been published in Italy,[8] France,[9] United Kingdom,[10] Belgium[11] and Brazil[12] Audiotactile formativity theory has been discussed and recognised as a contribution in the study of improvised music by University researchers (Frank Tirro[13] Laurent Cugny[14]) and journalists (Fabio Macaluso,[15] Maurizio Franco.
He is the director, along with Fabiano Araujo Costa and Laurent Cugny of the Revue du jazz et des musiques audiotactiles,[19] edited by the IREMUS centre, Sorbonne University, Paris, France; of the collana Grooves - Edizioni di Musiche Audiotattili[20], published by the Italian editor LIM, Libreria Musicale Italiana, based in Lucca; and of collana Musicologie e Culture,[21] published by the Italian editor Aracne based in Rome.
[22][23] He has also taught Analysis of Performative and Compositional forms in Jazz Music at the Conservatorio di Musica "Santa Cecilia" in Rome.
[24] Starting from 2000,[25] Caporaletti focused his research on the formalisation of a phenomenological and taxonomical model of musical experience, that, in his book, he has defined with the expression "audiotactile formativity".
SIAE has reviewed and updated the article n.33 if its statute on December 11, 2016, to include audiotactile music among the ones protected under copyright law.