Electro-acoustic composition, radiophonic (2020)
*Mokranjac Award - Composition prize awarded by the Serbian Composers` Association
This composition is based on a fictional scenario of restoring the ancient, lost and found, musical recordings. It is a personal contemplation of what this imaginary sound reproduction technology might be, and moreover, what are the musical specificities of a medium that we consider to be old (and maybe even long forgotten) in general. These imaginary (musical) findings are central idea around which the compositions have been made. Sound vocabulary of the work has been built elaborating on this, and on the idea that the medium, as a physical fact, can be represented in music as one of many existing compositional layers, with possibility to be depicted by using conventional musical tools. Some titles of the individual pieces point out to concrete references, providing the listener with the material for a storytelling experience that permeates the whole work. Majority of the sounds have purely digital origin although their purpose is to resemble the quality and character of field recordings, amplified objects or other concrete sounds. At this instance, the compositional method becomes inversion of the music concrete in an attempt to re-create the world of real, organic sounds by using the artificial, digital ones. The signature sound by EMS Synthi 100 has been used cohesively throughout the different sections of the composition, to set an emotional backdrop of the work, and as a source material.
Post-excavation activities (excerpts)
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Added on 15 June 2022
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Electro-acoustic composition, radiophonic (2020)
*Mokranjac Award - Composition prize awarded by the Serbian Composers` Association
This composition is based on a fictional scenario of restoring the ancient, lost and found, musical recordings. It is a personal contemplation of what this imaginary sound reproduction technology might be, and moreover, what are the musical specificities of a medium that we consider to be old (and maybe even long forgotten) in general. These imaginary (musical) findings are central idea around which the compositions have been made. Sound vocabulary of the work has been built elaborating on this, and on the idea that the medium, as a physical fact, can be represented in music as one of many existing compositional layers, with possibility to be depicted by using conventional musical tools. Some titles of the individual pieces point out to concrete references, providing the listener with the material for a storytelling experience that permeates the whole work. Majority of the sounds have purely digital origin although their purpose is to resemble the quality and character of field recordings, amplified objects or other concrete sounds. At this instance, the compositional method becomes inversion of the music concrete in an attempt to re-create the world of real, organic sounds by using the artificial, digital ones. The signature sound by EMS Synthi 100 has been used cohesively throughout the different sections of the composition, to set an emotional backdrop of the work, and as a source material.
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