Nikos Kokolakis

Netherlands (residence), Greece (citizenship) °1981
en

Nikos Kokolakis (1981) (GR) completed the B.Sc. in Physics at the University of Crete and in 2013 the B.A. in Music Composition with J. Papadatos and D. Trypani at the Ionian University in Corfu. During Erasmus studies in York (UK) in 2013 he had lessons with R. Marsh, T. Howell and N. Sorrell. This provided him with the opportunity to be part of the Gamelan Ensemble of York University led by N. Sorrell and play in concerts and workshops in York and Leeds. He has attended workshops of traditional Mediterranean and Eastern music in the Musical Workshop Labyrinth in Houdetsi (Crete) as well as various composition seminars. In 2016 he obtained the Master in Composition at The Royal Conservatoire in The Hague with Peter Adriaansz, Yannis Kyriakides, Martijn Padding and Raviv Ganchrow with the Thesis “Spatial awareness in instrumental music: Transformation of attention in a situation, becoming musical structure”.

 

https://soundcloud.com/kokolakis-nikos-1

https://nikoskokolakis.com/

 

contact: nikos.kokolakis.music@gmail.com

 

 

 

research

research expositions

  • Spatial awareness in instrumental music: Transformations of attention in a situation, becoming musical structure. (2016) author(s): Nikos Kokolakis published in: KC Research Portal
    Even though the idea that “space and spatial experience as aesthetically central” regarding its sonic attributes is a central topic in acousmatic music, it is also of interest for orchestral composers, especially from 20th century onwards. The sound of the 20th century is so broad that gives today’s composers the potential of exploring a vast richness of “first heard” structures, that came as a result of the experiments and achievements of the past, and consequently to form their personal voice which can be relevant to it and capable to converse with it. A greater level of abstraction is needed in order to manage to condense what this knowledge offers to us and the consideration of space during the composition procedure seems to provide us a good starting point since many of the attributes of contemporary music could be included in it. Additionally it seems that a greater level of abstraction would not necessarily make the music less accessible to the audiences if such systems of abstraction take into account research into human physiology and considers the every-day environment. Regarding space in a macro structural level can provide us with the appropriate means to create an experience based on its phenomenology while contemplating its micro structure can lead us to results which are unifying sound qualities that otherwise could be considered to belong in different scopes.
     open exposition comments (0)