Time Travel addressed how the combination of different aspects of 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 including a harmonious drone under the priest’s voice (9:12 – 10:48) creates the perception of polyphony in the priest’s voice sound textural layer, when what actually happens is that the spectral space occupancy of the harmonious drone textural layer is wider and denser than the one of the priest’s voice textural layer and the tonality centre of the two layers is the same (C minor). In addition, the spectral space occupancy alterations occurring in the harmonious drone textural layer (e.g.  10:09 – 10:17) make this polyphony perception more effective. The perception of polyphony results in the priest’s voice obtaining a more dominant presence and this has an impact in two levels: In terms of cultural context, it enhances the pivotal role of the priest. In terms of the work itself, it provides this section with harmonicity at a polyphonic level; something missing from Byzantine music which is purely monophonic.


In Land of the Sirens, the concepts of Smalley's spectromorphology were an increasingly important informer upon the compositional procedure, 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. Having acknowledged that, I used these concepts as reference points for the development of my own soundworlds. In addition, I discovered that Smalley’s concepts allowed me a framework in which to explore the terminologies. My main implementation was to use textural and gestural motion either in combination with adjectives which are somehow connected to real world objects or attributes of objects, in realistic or metaphorical ways, or by presenting new descriptive adjectives which are not present in Smalley’s concept but are undoubtedly emerging from my understanding of Smalley’s concept and the impact it had on me. In both cases, my intention was to target a clearer description of my musical language.