My research included extensive recording of industrial, environmental, and instrumental soundworlds (e.g., sounds emerging from a piano, church Organ, traditional Greek instruments, sounds captured in a reservoir, and airplane sounds). The application of significant transformations to the initial sounds resulted in the emergence of new soundworlds. These new soundworlds were given new identities that closely resembled real-world sounds (e.g.: Land of the Sirens: original floghera sounds were transformed into bird-type sounds; e.g.: Icarus: original airplane-taxiing sounds were transformed into 'human-breathing' sound textures). These transformation procedures were implemented in order to examine various ways in which real-world resembling sounds can evolve through heavy transformations of significantly different content source sounds.

Time Travel looked at how the combination of various textural attributes, which are present in different overlapped textural layers, led to the perception of new aspects of gestural motion or new ways of identifying specific soundworlds.

In Time Travel, the presence of a sound textural layer containing a harmonious drone beneath the priest’s voice (9:12 – 10:48) creates the illusion of polyphony in the priest’s voice sound textural layer, when what occurs is that the spectral space occupancy of the harmonious drone textural layer is wider and denser than that of the priest’s voice textural layer, and the tonal centre of the two layers is the same (C minor). Furthermore, the spectral space occupancy changes that occur in the harmonious drone textural layer (e.g., 10:09 – 10:17) enhance this polyphony perception. The perception of polyphony causes the priest’s voice to gain a more dominant presence, which has an effect on two levels. In terms of cultural context, it emphasizes the priest’s pivotal role. In terms of the work itself, it provides this section with polyphonic harmonicity, which is lacking from Byzantine music, which is purely monophonic.

Smalley's spectromorphology concepts were an increasingly important informant for the compositional procedure in Land of the Sirens, with specific emphasis given to textural and gestural motion and the use of multiple sounds or sonic characteristics of sound objects as single entities or organized in groups or layers. After acknowledging this, I used these concepts as jumping-off points for the creation of my own soundworlds. Furthermore, I discovered that Smalley’s concepts provided me with a framework within which I could explore the terminologies. My main implementation was to use textural and gestural motion in conjunction with adjectives that are connected to real world objects or attributes of objects, in realistic or metaphorical ways, or by presenting new descriptive adjectives that are not present in Smalley’s concept but undoubtedly emerge from my understanding of Smalley’s concept and its impact on me. In both cases, my goal was to provide a more detailed description of my musical language.

The concept of interculturality is enhanced through the reinterpretation of specific cultural aspects within the universe of acousmatic music through the creation of electroacoustic works that explore aspects of cultural identity. This reinterpretation can be perceived in multiple dimensions by academics and a broader audience at conferences and electroacoustic music festivals where the works are presented.


[Table 3] Compositions with links to respective sections.


1. Icarus (2014, 7'52, stereo, fixed – media)

2. Time Travel (2016, 18'32, stereo, fixed – media)

3. Land of the Sirens (2017, 27'00, stereo, fixed – media)