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Multi-channel compositions

Paradise Lost

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 to light some of its aspects. The spoken words in this piece highlight some keywords, and the sounds of the violin describe the meaning of these words and the emotion that they produce for the composer. Through this sonic experience, the composer is willing to bring the audience closer to her understanding of the poem. An approach to 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[1] in their raw and processed form. 

[1]Violin: Anna Vaughan, Voice: Emily Eaton

ètude aux Musique Concrète

The composition “etude aux musique concrète” is dedicated to the techniques of concrete music, the first movement of acousmatic music. It combines the sound of the old techniques of tape processing with the later techniques of granular synthesis. Consisted of sounds of orchestral percussions[1] 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 travel us back to Pierre Schaeffer's late 40s and Ioannis Xenakis’ early 60s with a taste of the 21st century.


[1] The library of the percussions sounds made by Jamie Turner and me at SC2 of the City University of London.

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