Homepage: https://www.dimitris-savva.com/

In response to this year’s residency theme, 'Spatial Sound Synthesis,' I propose creating an electroacoustic music composition. This composition will have two primary objectives:

• Firstly, it will delve into synthetic sound by extracting spectral elements from recordings and then re-composing and recontextualizing them within the creative process.

• Secondly, it will explore the concept of space as a form that can be shaped and designed by establishing both timbral qualities and causal relationships among the various sound components integrated into the composition.

The work will build upon the new compositional direction I began pursuing this year, which involves the exploration and experimentation with the spectral extraction of sonic elements from recorded sounds at macro, micro, and nano levels in both time and frequency domains. These extracted elements are then re-composed and recontextualized within the composition process. This is achieved through the experimentation with various structural relationships that enable their coexistence, and by applying a range of sonic manipulation and transformative processes.

The first work that explores this direction, entitled 'tranglitchuilizer_sabe_28523,' utilizes spectral extracts from a 10-second segment taken from a live-electronics performance co-created with the Asabe ensemble in Corfu, Greece. This work seeks to achieve the previously mentioned objectives. In its first half, it employs simple mathematical processes, notably the Fibonacci series and the golden section, to partly define the structure. These mathematical processes determine the number of gestures in each section and the timing between each gesture and between each part. In the second half, these defining mathematical processes are abandoned, allowing for a more open and uncontrolled approach to structuring and fostering a dialogue between controlled and non-controlled elements.

The work was originally composed in stereo but later evolved into a 5th order ambisonic composition. This transformation occurred during the intensive two-week 'Focus' ambisonic summer school-residency organized by the Phonon crew in Ústí nad Labem, Czechia. Utilizing the two OTTOsonics 24-channel systems set up for the residency, and after dividing the composition into various stems based on gestures and textures, I spatialized and remixed the work into a 5th order ambisonic format.

Continuing in this new direction within my compositional practice and drawing upon the experience gained from working with ambisonics, I intend to delve into the intersection of sound synthesis and sound spatialization, as outlined in the residency call. In alignment with the previously stated objectives, my aim is to experiment with the use of spectrally extracted sounds from various recordings. In this composition, while recomposing and recontextualizing these sounds, I aspire to explore the concept of space as a form. This exploration entails the creation of spatial forms and the establishment of causal and structural spatial connections among the materials.

Specifically, 'causal relation' entails experimenting with how sound materials interact with space. For instance, a loud gesture might trigger a change in the spatial perception, where the response to the gesture isn't perceived as another sound localized or diffused in space but rather as a sound that embodies the space itself.

Likewise, in terms of space and form, an example of experimentation involves manipulating the timbre of continuous textures by highlighting or altering different frequency bands depending on the texture's location in space. For instance, this manipulation could result in a texture that moves in cycles, with high frequencies highlighted when it's in the frontal perspective and low frequencies highlighted when it's in the rear. Another example is the structural spatial development of sounds gradually emerging from a narrow localization and progressively expanding to fill the entire sphere. This creates the impression of a living organism that evolves and expands over time.

In conclusion, this project represents an exciting journey into the realm of 'Spatial Sound Synthesis.' It builds upon my evolving compositional direction and the valuable experience gained through ambisonic exploration. By merging sound synthesis and sound spatialization, this project aims to breathe life into the concept of space as a form. Through experimentation, I endeavor to create a composition that transcends the boundaries of my musical language, offering listeners a new immersive auditory experience. With careful planning and dedicated studio time, I look forward to realizing this vision during the residency.