My research investigated the practicability of diverse electroacoustic music compositional approaches which were applied in a series of works that explored specific relationships between real-world and abstracted sound materials, through the strategic use of pitched, melodic and non-pitched materials (and specific characters and behaviours of those materials) as integral elements in the compositional process. My main aim was to explore all of these different levels in a musical way via electroacoustic music and to present transformed aspects of Greece. In addition, I attempted to explore new electroacoustic music territories by undertaking a journey from real-world instrumental and concrete soundworlds based on Traditional Greek Instruments towards abstract soundworlds.
Epameinondas P. Fasianos (Epa Fassianos) is a Greek Composer of Electroacoustic Music. He was born in Athens in 1982.
He holds a PhD Degree in Electroacoustic Music Composition. He obtained his PhD from the University of Manchester (NOVARS Research Centre), under the supervision of Professors David Berezan and Ricardo Climent. His area of interest was: Creating works of Acousmatic Music based on aspects of Greek Culture (Religion, Traditional Greek Instruments, Mythology).
His works have been selected and performed in many Electroacoustic Music Festivals around the world.
His work “Chromatocosmos” has been awarded the First Prize in Category A in MUSICA NOVA 2018 Competition of Electroacoustic Music in Prague, as well as the Third Prize in MUSICWORKS 2018 Competition in Toronto.
In 2019, his work “ElectroSantouri” received an Honorary Mention in FORUM WALLIS 2019.
My research investigated the viability of various electroacoustic music compositional approaches, which were used in a series of works that explored specific relationships between real-world and abstracted sound materials, through the strategic use of pitched, melodic, and non-pitched materials (as well as specific characteristics and behaviours of those materials) as integral elements in the composition. All of the compositions were linked to Greece in various ways, either directly or symbolically. My primary goal was to present transformed aspects of Greece while exploring all of these different levels musically through electroacoustic music. Furthermore, I attempted to explore new electroacoustic music territories by embarking on a journey from real-world instrumental and concrete soundworlds based on aspects of Greek culture (religion, mythology) to abstract soundworlds. Real-world soundworlds are made up of sounds, spaces, and places that have the potential to communicate human experiences such as familiar impressions, aural images, and evocations for the listener. Abstract soundworlds that emerge from real-world ones via various transformation processes include specific sounds, spaces, and places that can be notably different from those that emerge from real-world soundworlds. My main overall goal was to develop innovative techniques and processes that explore the intersections, contrasts, connections, and discourse between the two.