My primary focus for the past two years has been investigating spatialization and electroacoustic music composition with immersive sound technologies. During my master I carried out two parallel researches, one over the use of Ambisonics, especially related to its aesthetic affordances in connection with field recording and soundscape composition, and the other on stereo diffusion as a form of live performance. A link to my original master project is at this link
The two paths encountered often, providing the possibility to compare the two practices and pull out useful reflections that I have organized also as teaching material in the context of the joint project between NMH and the State Conservatory of Tbilisi, Making Waves.
This research resulted in the composition of a number of works and the staging of several performances, in many prestigious contexts all over Europe, as thoroughly documented in my blog, and have brought a conscious evolution in my aesthetic and a constant development of my skills.
The techniques I learnt also influenced the design of my devices for live electronic performances, and I decided to include to this presentation a document that illustrates the functioning of my latest Max MSP instrument that I use in solo performances and with my duo DASPO.
The following list is to be considered as a summary of chapters in my documentation. For clarity I also highlighted the relevance of each of the documents in relation to the two main assignments I have to deliver: MUSTEK70 and TEKMAST70.
EKSAMENSMAPPE MUSTEK70:
Scie Luminosissime: from stereo to ambisonics and back. [MUSTEK70] (PDF)
Stereo diffusion: writing scores, interpretation and performance practices. [MUSTEK70] (PDF)
Vesuvio no anzu // DASPO: coding of an instrument for live electronics. [MUSTEK70] (PDF)
A resume of my studies about Soundscape and the use of field recordings in EA Music [MUSTEK70] (PDF)
TEKMAST 70
My composition portfolio [TEKMAST70] (PDF)