Gilgamesh I
Conducted and produced by Honiball Joseph at the Gilgamesh Arts & Culture Foundation in 2022, this album features nine pieces by international composers, all inspired by the ancient Epic of Gilgamesh.
The dream about Gilgamesh
Program Note
Fantastic Carousel features a rotating, electromechanical hyper-pan flute constructed from straws, PVC tubes, and bottles. Driven by a motorized system and powered by a precision-controlled air compressor, the instrument generates evolving textures through real-time airflow modulation. Inspired by carousel motion and built using the principles of Fab Synthesis—a method merging acoustic sound with mechanical control—the piece creates immersive, dynamic soundscapes. Combining machine precision with human shaping, Fantastic Carousel blurs the line between instrument and sculpture, offering a new model for kinetic sound generation and performance.
Tomasz Skweres
Panayiotis Kokoras is an internationally award-winning composer and computer music innovator, currently Regents Professor and CEMI Director at the University of North Texas. Born in Greece (1974), he studied composition and classical guitar in Athens and later earned his MA and PhD from the University of York, UK. His concept of “Holophonic Musical Texture
Epic of Gilgamesh
Program Note
Fantastic Carousel features a rotating, electromechanical hyper-pan flute constructed from straws, PVC tubes, and bottles. Driven by a motorized system and powered by a precision-controlled air compressor, the instrument generates evolving textures through real-time airflow modulation. Inspired by carousel motion and built using the principles of Fab Synthesis—a method merging acoustic sound with mechanical control—the piece creates immersive, dynamic soundscapes. Combining machine precision with human shaping, Fantastic Carousel blurs the line between instrument and sculpture, offering a new model for kinetic sound generation and performance.
Rojin Monibi
Panayiotis Kokoras is an internationally award-winning composer and computer music innovator, currently Regents Professor and CEMI Director at the University of North Texas. Born in Greece (1974), he studied composition and classical guitar in Athens and later earned his MA and PhD from the University of York, UK. His concept of “Holophonic Musical Texture” focuses on sound as the primary element of form, integrating acoustic and electronic composition. Kokoras’s works have been performed in over 1,200 concerts worldwide, winning 98 awards and being selected in 350 international calls for music. He has received commissions from the Guggenheim Foundation, Fromm Music Foundation, IRCAM, and others. As President of the International Confederation of Electroacoustic Music (ICEM), he advocates electroacoustic music globally. His research spans spatial sound, machine listening, and tactile sound. His compositions appear on 56 album compilations. More at www.panayiotiskokoras.com.
Unison II (The distance between me and myself)
Program Note
Using SuperCollider’s diverse audio programming tools, this piece realizes the concept of trapped wind through dynamic patterns on a custom synth. The synthesizer employs resonators, comb filters, and various UGens to craft evolving textures. A task-based scheduler governs the piece’s progression, functioning like a traditional score where each moment is precisely determined. Innovative interactions organize and modulate parameters across multiple patterns, fostering cohesion and unity throughout the entire composition. Subtle shifts in timbre and rhythm reflect the unseen force of trapped wind releasing tension. Overall, the work demonstrates how structured algorithmic control in SuperCollider can produce rich, engaging electronic soundscapes.
Mohammad H. Javaheri
Soheil Zarrinpour, from Iran, born in 1997, began studying piano at fifteen and studied piano performance at the Tehran University of Art. Initially, his compositions included acoustic works, such as piano and flute duets and wind quintets, before shifting his creative interests toward electronic music, exploring synthesis techniques and digital sound design. He is interested in audio programming, using Csound and SuperCollider for his works. He is enrolled in the Master of Music program in Composition at the University of Alabama, where he continues to refine his compositional voice and develop works that integrate acoustic instruments with electronic elements.
GU AN NA
Program Note
Stuck in traffic jam, movement of many people, automaton-people-, moving mechanically, beeping at you. But in these carts there are souls, working and sensitiv, really? How did the automaton cover the soul, how do the achievements cover the breathing, Measuring all day competition and bravado. When will we release the cover? Then we will find movement, The Soul. The word “UrbaNature” for stereo sound-track is trying to express the ideal of natural life which is dulled by the forced reality of an urban-technological world.
Myrto Nizami
Bracha Bdil (1988) is an Israeli-British composer, conductor, and pianist, winner of the Prime Minister’s Award for Composition (Israel, 2022) and the ACUM Award (2019). Her repertoire spans different mediums including orchestral music, chamber, vocal and electronic music.
Bracha’s compositions have won several first prizes ;in Israel, UK, Russia, China, Germany, Romania, Serbia, Belarus, Cuba and more. And with her composition Yizkerem, for a-cappella choir, she represented Israel at the Asian Composers League Festival, Taiwan (2018).
Bracha Bdil is a member of the Israel Composers’ League, her works are broadcast on the Israel Radio Voice of Music program and published by the Israel Music Institute and ICL.
Beginning in the fall of 2018, Bracha became the artistic director and chief conductor of the Zmora Women’s Orchestra in Jerusalem
Gilgamesh Recitation
Program Note
What will be the future of humanity in a world we have irreparably altered? Human actions, violent and hysterical, take without giving anything in return. Rapid human progress has left a trail of destruction, a planet exploited beyond its limits. I sought to imagine and represent this chaos, where every sound is a call to the reality of a world in crisis, a world in which all eras eventually come to an end.
Máté Balogh
Bruno Belardi is a musician and composer from Naples. He studies Classical Double Bass and continues his journey in Electronic Music under the guidance of Elio Martusciello at the “San Pietro a Majella” Conservatory in Naples. Currently, he is engaged in international concert activities as a member of Ars Nova Napoli. His acousmatic works are beginning to receive initial recognition, including being selected as a finalist for MA/IN 2024, Musicacoustica Hangzhou (China) 2024, Soundcinema Dusseldorf (Germany) 2024, Landscape 2024 (Italy) 2024.
Simultankontrasts
Program Note
Quadraphonic electroacoustic piece, presented here in stereo. The title, taken from Psalm 103, indicates the origin of the material used: real or computer-generated bird songs, in a game of ambiguity and exchange between the natural and the artificial. These animals have always been regarded as messengers of the gods. The form, articulated in five stages, thus proposes a journey from the concrete to the abstract, from the real to the metaphysical. The whole was composed using only non-proprietary software.
Emir Can Pehlivan
Fabio De Sanctis De Benedictis teaches composition and music analysis at the Conservatory of Livorno (Italy). He specialised in composition with Giacomo Manzoni. His works have been performed in Europe, Latin America and the USA by Giuseppe Giuliano, Giancarlo Schiaffini, Daniel Kientzy, Gianpaolo Antongirolami, Nicola Baroni and others. He has been published by Diastema, Ircam, Ars Publica, Cero Records, Pig Bristle, Nova-Musica. A researcher in the field of computer-aided composition, he is the author of a software library for OpenMusic.
Mother (Ninsun)
Program Note
The piece began with a single, evocative word: “Scale”. For several days, I intensified the ambient sounds around me through headphones, creating a sonic microscope that magnified even the most mundane of noises. The simple act of a bird flapping its wings became a source of intense anxiety, and the chirping of sparrows outside my window became gratingly unpleasant. The foundational material for this composition was exclusively derived from field recordings of my immediate environment, subjected to numerous layers of synthetic processing. While I initially found common ground with Pierre Schaeffer and the classical musique concrète movement, my artistic trajectory diverged from their foundational principles. My primary compositional focus was on granular synthesis. I began by working with large-scale sound structures, gradually decomposing them into increasingly minute granular components. This process of sonic reduction allowed me to explore the microscopic textures and temporal nuances inherent within the original recordings.
David Roche
Alireza Seyedi was born in November 2001 and belongs to the new generation of contemporary music in Iran. Traces of traditional music and the music of the regions of Iran that have been dissolved in the context of contemporary music can be traced in his works. This presence is sometimes clear and tangible and sometimes abstract and deeper. The influence of electronic music has always been clear in his works. Whether it was when electronics were present or when it was simply inspired by that music composition culture. Seyedi’s music is a captivating fusion of tradition and modernity, reflecting his rich cultural heritage and artistic exploration. His artistic practice involves a deep exploration of sound, technology and cultural identity. His work has been featured at various festivals like Horizon Etendu Composition Academy full scholarship, Ensemble Musikfabrik Academy full scholarship, Spectro New Music Center Competition (Unerhörte Musik in Berlin Concert), Tehran international electronic music festival (Tiemf 2024), Semaine Internationale de la Musique Électroacoustique & de la Créativité (Simec 2024), Contemporary Music Laboratory at the European University Cyprus, Cultura & Sustentabilidade 2024 – Projecto DME, Radiophrenia Glasgow 2025, Nice International Music festival and academy (Nimfa 2025), On Air On Site 2025, Reza Korourian Awards 2025
Olden Times have turned to clay
Program Note
The interlude movement uses a Chua circuit—a chaotic electronic oscillator that never repeats—as its compositional model. 36,000 data points were scaled in Max/MSP, converted to MIDI, and recorded through Max4Live in Ableton. For visuals, Jasper AI generated 14 abstract images that were resubmitted for further generation. Unexpectedly, the AI began interpreting abstract forms as human-like figures without prompting—a digital Rorschach effect from its training data. These images were expanded to 4K using Photoshop’s generative AI, then displayed via Max/MSP at 25fps using drunk walk algorithms triggered by audio transients. The result creates mysterious flickers questioning perception.
Andrew Lovett
Andrew A. Watts is a composer whose chamber, symphonic, multimedia, and electro-acoustic works are performed worldwide. His music has been premiered at prestigious venues such as Burning Man, Ravinia, Boston’s Jordan Hall, and the Internationales Musikinstitut Darmstadt. He has collaborated with leading ensembles including Ensemble Dal Niente, Ekmeles Vocal Ensemble, and Proton Bern. His recent work, A Strobe Fractures Obsidian Night (2024), features AI-generated video and multichannel audio.
Watts’s music explores the expressive ramifications of technology and the post-human, often incorporating invented instruments, microtonality, and gradients between sound and noise. He holds a doctorate from Stanford University, a master’s from Oxford University, and a bachelor’s from the New England Conservatory. He is currently on the Music Composition faculty at UC Santa Barbara’s College of Creative Studies and is an affiliate faculty in the Mellichamp Initiative in Mind & Machine Intelligence.
Gilgamesh
Program Note
In the Arctic region of Raudfjorden, on a pebble strewn beach stands a small, crude wooden cabin. It’s said that on the same site stood an earlier cabin once inhabited by a lone trapper seeking refuge in the fjord after a terrible mining accident left him disfigured. As I stood in
the hut, peering out through one of the many cracks that made-up a wall, I wondered what it must have been like, both for the trapper and others like him who chose to live in such climatically extreme isolation.
Payman Mansouri
Daniel is an Australian composer, sound and new media artist currently residing in
Sydney. He has worked in a variety of creative, academic, research and teaching contexts, and is currently lecturer in composition and music technology at the Conservatorium of Music, University of Sydney. He is an ardent location field recordist, where he has embarked
upon a growing number of recording expeditions throughout Africa, Alaska, Amazon,
Australia, Cuba, West Indies, Mexico, Madagascar, Middle East, Northern Europe, and
the high Arctic/ North Pole. His creative works have received numerous international and national composition awards. More information can be found www.danielblinkhorn.com