TRANSITION STUDIES (2024 - IP)
4-Track Audio
DURATION ?
PERFORMANCES: TIEMF, 6th Tehran International Electroacoustic Music Festival | Tehran | September 14, 2024 (1st Movement)

'Transition Studies' is a collection of short pieces exploring a sonic material transformation algorithm I’ve developed since 2023. The algorithm expands on Dynamic Time Warping (DTW) — a method devised by Sakoe & Chiba in 1978 for optimal speech recognition — by adapting its framework to enable seamless transitions between two distinct musical states. The system enables composers to define arbitrary musical parameters and transition between them smoothly over a customizable number of steps. This process can generate continuous unorthodox and algorithmically mediated “raw material” that can be refined and integrated into larger compositions.

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YE ETUDE KUCHULU (2024)
یه اتود کوچولو
برای مهدی جلالی
4-Track Audio
DURATION 2 min 8 sec
Algorithmic warping of a short bass clarinet recording 
Dedicated to Mehdi Jalali

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FIVE CHANGES (2024 - IP)
2-Track Audio

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KINDERLIED (2014)
2-Track Audio
DURATION 25 min
PERFORMANCES: Chamber Music Hall of the University of Music Freiburg i. Br. | June 15, 2014
Musik für Lautsprecher (Concert of electroacoustic music from Iran) | Orgelfabrik, Karlsruhe | December 5, 2023

This composition follows the tradition of speech compositions. Electronic transformations and distortions of sound were deliberately avoided in this work to maintain focus on the unaltered speech material. By layering whispered text, new layers of language emerge. Consonants and sibilants take on a life of their own, and new structures appear. The meaning fades, the language loses its expressive power, and it becomes pure sound. In this way, the simple act of whispering itself becomes a sound transformer. The text used comes from the German children's song 'Hänschen klein.'

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IMMERWÄHREND (2023)
4-Track Audio
DURATION 2 min 14 sec
PERFORMANCES: Musik für Lautsprecher (Concert of electroacoustic music from Iran) | Orgelfabrik, Karlsruhe | December 5, 2023

This piece is a short study on a compositional idea: I imagine that the smallest unit of a work is not a single event (e.g., a single sound with all its musical properties), but a collection of events. The individual events that form such collections are allowed to have a turbulent life in all their facets. They are compressed and stretched, experiencing dynamic, articulative, and timbral transformations. New events are also introduced into the groups, or existing ones are removed. However, they can achieve nothing as individuals, only as a collective; they only gain the meaning of their existence in the company of other events. In my composition, it is a kind of iteration that takes on a varied form each time it appears - a constant repetition of the same, which is somehow different every time! It is as if one never leaves a room, whose outer form and decoration are constantly changing, creating the impression of a continuous change of space.

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VOID PLENITUDE (2024 - IP)
4-Track Audio
DURATION No. ?: 11 min 12 sec
PERFORMANCES: '...für Lautsprecher', Concert of contemporary computer music | November 15, 2024 | Reaktorhalle of the University of Music and Performing Arts Munich (No. X)
Sanandaj Electroacoustic Music Festival | December 22-23, 2024 | University of Art and Architecture | Sanandaj, Kordestan, Iran (No. X)


A series of compositions that have emerged as a further development of a code example from the documentation file of the Demand class of the programming language SuperCollider. At the core of the compositions is the short code snippet from the help file:



(
{
var trig, seq, freq;
trig = Impulse.kr(24);
seq = Drand([Dseq((1..5).mirror1, 1), Drand((4..10), 8)], 2000);
freq = Demand.kr(trig, 0, seq * 100);
SinOsc.ar(freq + [0,0.7]).cubed.cubed.scaleneg(MouseX.kr(-1,1)) * 0.1;
}.play;
)


This code has been slightly modified to allow for various additional parameter definitions for the pieces. Consequently, all compositions in this series are derived from the same code and share the same architecture, but differ in the final landscape and it's nuances.

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