A contemporary sound composition that combines live-recorded ambient sounds from nature with speech synthesis and algorithmic processes. Through the use of a genetic algorithm and granular synthesis, the piece evolves natural recordings and human elements into intricate soundscapes, exploring the intersection of biological evolution and technological adaptation in the digital age.
This piece is an excerpt from my PhD research and was selected for performance at the prestigious Bourges Festival in France. The work showcases key elements of my spatial audio methodology, blending advanced electroacoustic techniques with spatialized sound.
A spectral composition based on a frequency analysis of the cello's lowest note (62 Hz). The work is arranged for a string octet, with the live cello processed through an octophonic array, immersing the audience in a spatialized sound field. This piece represents a significant precursor to my PhD research in spatial audio composition.
A two-bar motif unfolds through expansion, contraction, inversion, and rhythmic displacements, weaving into an evolving sonic tapestry. The tape layers warped echoes of the motif, creating a textured backdrop. Building intensity, the piece crescendos into a virtuosic climax, transforming the motif into something unrecognizable from its origin.
Composed for 16 channels, the immersive soundscapes are crafted from algorithmically processed vocal samples. The disembodied voices envelope, creating an eerie sense of speech-like fragments. The piece explores the blurred line between organic and synthetic sound, questioning identity and technological evolution in the age of “Life 3.0.”
A 6'30" composition that extends the iconic 20-second fanfare of Universal Film Studios into a more expansive sonic exploration. The piece reimagines the brief original theme, using creative time-stretching and audio manipulation techniques to unfold new musical ideas over a longer duration.
Written for the renowned virtuoso string quartet Con Tempo, this piece explores the mathematical relationships between the performance rates of the cello, viola, and violins. As the work progresses, the articulation becomes increasingly unconventional, shifting from traditional bowing techniques to more aggressive, percussive, and destructive sounds.
This original composition draws inspiration from Arvo Pärt’s Tintinnabuli style. The string quartet is accompanied by a pre-recorded tape part that features a unique double reverberation: one layer moving forward in time, and the other reversed, creating a complex, immersive sonic landscape.
A live-coded piece inspired by Steve Reich’s Phasing technique, this composition is written in SonicPi using the Ruby programming language. The work explores the gradual temporal displacement of repetitive musical patterns, generating evolving rhythmic shifts in real-time, characteristic of Reich’s minimalist approach to phasing.
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