Chromatocosmos and ElectroSantouri examined the ways that concepts of cultural identity could be spread out within an acousmatic work.

In these two works, I attempted to show how the baghlamas and santouri are related to aspects of Greek culture. The transformations themselves create melodic contours which directly refer to the way these instruments are performed, but with completely different attributes in terms of timbre and gesture.

In addition, I also made an attempt to expand the concept of “cultural identity” to broader boundaries by creating soundworlds which are totally detached from the original concepts of tradition, either in terms of melody, or in terms of innovative textural and gestural soundworlds, such as the bubbling water sound textures or the dinging textures in rapid motion in ElectroSantouri, and the harmonic dinging resonant textures or the harmonic resonant pinches in Chromatocosmos.

The significance of the expansion of the “cultural identity” concept, was the fact that traditional concepts concerning the performance of the santouri and the baghlamas got interpreted in innovative ways, but at the same time, this new interpretation preserved the link to the Greek tradition.

In addition, the expansion of the “cultural identity” concept has set new boundaries to the works Chromatocosmos and ElectroSantouri, by producing new soundworlds, completely isolated from any sort of link to the Greek tradition.