My current and recent compositions engage technology to a great
extent, as a tool to enhance and enable the creative process. I have
chosen the electroacoustic medium as my main creative platform, because
of its wide competence in controlling and processing sound material,
and the immense capabilities it offers in exploring timbre, gesture
and texture. Within the electroacoustic environment I feel free to
develop sound repertories that are not confined to the notion of the
instrument or voice. Far from being an emotionless medium, electroacoustic
processes enable the composer to carefully shape sound events in order
to give them emotion characteristics in appearance and direct the
audience's attention to carefully considered paths in a music piece.
Field recordings, such as the sounds of nature and sounding cultural
activities are frequently employed in my compositions, involving the
listener in a process of transcontextual interpretation, where the
recorded event carries a dual meaning - one emerging from its natural
and the other from its musical context.
Human presence is often integrated in my acousmatic work through
vocal utterance manifesting direct human, physical and therefore psychological
links. My understanding of the creative possibilities of the human
voice and the disintegration of language is informed by a systematic
investigation on the historical use of voice by the futurists, dadaists
and sound poets, and an extended research on ethnomusicological issues
related to the use of human voice in non-western cultures.
In addition, my background as a graphic designer and photographer
informs my work. Visual information is regularly used either to influence
and direct the structure of my pieces, or to construct graphic scores
for instrumental and vocal performers with or without the use of live
My doctoral research, funded by the Arts and Humanities Research
Council (AHRC), aims to contribute to the understanding of mechanisms
of linking and controlling different time levels in composition. It
expands the possibilities of musical expression by identifying links
among timescales, through a perceptual analysis of the properties
of sound in relation to the mental mechanisms of time perception.
My study was conducted through practical implementation of ideas,
composition and analysis of acousmatic works, and an investigation
of the related fields of psychoacoustics and cognitive psychology.