This composition is dedicated to John Milton's poem “Paradise Lost”. This piece is a sonic representation of the context of this poem. This doesn’t mean that it is a programmatic composition. It doesn’t describe the context of the poem but it is willing to bring in light some of its aspects. The spoken words in this piece highlight some keywords and the sounds of violin describe the meaning of these words and the emotion that they produce to the composer. Through this sonic experience, the composer is willing to bring the audience closer to her understanding of the poem. An approach of the good and bad of the human race but also the hope of learning from their mistakes.
It is a 5-channel surround piece with a lot of components that, explore sonic space and texture and their relation with the listening modes. In particular, this piece is structured, to move the listening modes of the audience from causal to reduced several times by using violin and voice in their raw and processed form.
Violin: Anna Vaughan, Voice: Emily Eaton
ètude aux Musique Concrète
The composition “etude aux musique concrète” is dedicated to the techniques of the concrete music, the first movement of the acousmatic music. It combines the sound of the old techniques of tape processing with the later techniques of the granular synthesis. Consisted of sounds of orchestral percussions this composition projects contemporary thoughts about acousmatic music such as the Timescale, Microsound Transformation and Space Form. Multiple layering and space diffusion are two of the main characteristics of this piece that travels us back in Pierre Schaeffer's late 40s and Ioannis Xenakis’ early 60s with a taste of 21st century.
 The library of the percussions sounds made by me and Jamie Turner at SC2 of City University of London.