Compositions from 2000 onwards

(for more information click on the links of each title)

2023

Op. 285 – 297
Heritage Soundmap

A series of new compositions for the Interactive Heritage Soundmap, created as part of my AHRC-funded research project Sonic Palimpsest.

Op. 284
Beneath the Surface

Spatial sound composition for the Wave Field Synthesis system (192 loudspeakers) (11:42).

2022

Op. 283
History Revisited

Collaborative installation for 26 channels and 3 projectors, exploring sounds and stories of Chatham Historic Dockyard.
Part of my research project Sonic Palimpsest.

Op. 282
Ropery Gallery soundscape (commission)

Collaborative composition for an installation, made for the new Ropery Gallery of Chatham Historic Dockyard.

Commissioned by Chatham Historic Dockyard Trust.

2021

Op. 281
Warerbug Voices
sound installation

Part of the research project Liminal Spaces

Op. 280
Wetlands (commission)
ambisonics electroacoustic (10:05)

Commissioned by SoundLapse

Op. 279
Sirens in the Night (commission)
geolocated soundwalk (1:42)

Commissioned by SparkedEcho for the Electric Medway Festival.

Op. 278
Covered in Coal (commission)
geolocated soundwalk (1:30)

Commissioned by SparkedEcho for the Electric Medway Festival.

Op. 277
The Fog of November (commission)
geolocated soundwalk (1:07)

Commissioned by SparkedEcho for the Electric Medway Festival.

2019

Op. 276
Parabolic Studies for Migraine
octophonic electroacoustic (15:00)

Composed specifically for a multi-speaker concert I was invited to perform in. The concert took place at Aures London venue to a blindfolded audience in March 2019.

2017

Op. 275
Irides
electroacoustic (11:11)

The composition explores the relocation of the visual, gustatory, olfactory, and haptic environments into the aural space. It also examines interrelationships between music, time perception, timescales in different senses, memory and the listening environment.

2011

Op. 274
Paraboles Mixe (recomposition, using ‘Huit Études Paraboliques’ by H. Pousseur, 1972) (commission)
electroacoustic (31:20)

This version of Huit Études Paraboliques by Henri Pousseur was commissioned by Middlesex University as part of the Scambi Workshop, and was realised in 2011.

Op. 273
Scambi (recomposition of H. Pousseur’s 1957 piece)
electroacoustic (6:24)

Commissioned by Middlesex University.

2010

Op. 272
Seawater
electroacoustic (1:00)

Published in the 54 Electrocaoustic Miniatures by HELMCA/ESSIM

Op. 271
Paramnesia
electroacoustic (15:08)

Paramnesia explores timescales based on connotational chains, and the relation of stimulus complexity to temporal judgements. It has been performed in several venues around the word and is published by ICMA.

2008

Op. 270
Promenade
electroacoustic (6:00)

Commissioned by CRiSAP

Op. 269
Arborescences
electroacoustic (11:24)

The stereo piece explores temporal syntax based on my research on timescales. Timescales at various points in the piece move at different pace, so that arborescent temporal structures move apart and then meet again. Periodicities turn into erratic behaviour and the opposite, undergoing a number of processes of change at the same time.

2006

Op. 268
Chronos
electroacoustic stereo sound and miked clock, for 3 channels (11:25); 2nd version for stereo sound only (11:08)

Aki was selected for the Composer Shortlist by the SAM organisation (former SPNM), for the acousmatic version of Chronos.  The composition was also selected for the ICMC 2012.

Op. 267
Vessel@Anchor ST6
electroacoustic (6:00)

2005

Op. 266
Vessel@Anchor
hexaphonic electroacoustic (11:38)

A five minute extract is published in the Organised Sound journal, Vol. 16.

2004

Op. 265
From the Bells to the Wind
improvisational electroacoustic for 8 channels (c. 20 mins)

Op. 264
Ka-Boom!
electroacoustic (14:07)

The stereo composition is based on recordings of fireworks displays, employing also recorded voices that imitate fireworks.

2003

Op. 263
Between In & Out
electroacoustic (8:13)

Based on an excerpt of Dante’s Divine Comedy.

Op. 262
Chewy & Crisp
triangle or bell, cereal bars, crisps, closed headphones and tape (installation piece)

Op. 261
!blac (on a poem by e.e. cummings)
electroacoustic (8:15)

Op. 260
Telephone Conversation
2 unspecified wind instruments, amplified percussion (any skin drum made for hand-playing, e.g. conga, bongo or tambourine), 2-4 vocalists (any vocal range) and a mobile phone (c. 3:30 – c. 8 min or more)

Op. 259
Cellular Structures
oboe, percussion, tape (9:50)

Op. 258
Into the Sink… and Downwards
octophonic electroacoustic (7:40)

Op. 257
The Eight Permanent Emotions
voices on tape (1:58)

2002

Op. 256
A Sea Of Thoughts
octophonic electroacoustic (9:40)

Op. 255
Particles of Dust
electroacoustic (3:50)

Op. 254
Through The Grapevine (I Heard It)
4 performers with newspapers, 3 narrators, 1 voice-actor, violin and tape

Op. 253
MedEia
electroacoustic (in 5 movements); music for a theatre production (30:27)

Op. 252
One-Way Ticket
electroacoustic (for white goods and simulated percussion) (7:52)

Op. 251
Wasteland
mezzo soprano, ob., vn, perc., pf (7:40)

2001

Op. 250
Obscure
electroacoustic (2:51)

Op. 249
Gedicht (on a poem by Kurt Schwitters) [Poem]
vocalizing string quartet (8:05)

Op. 248
Sonic Signature: A.K.I.
tape (3:50)

Op. 247
Dreaming
tape (3:20)

Op. 246
Short Pieces On Pierced Paper
piano (1:00)

Op. 245
(The World Of) Becoming
fl, vc, mar., perc., tape (7:40)

Op. 244
Pa Ubu’s Dance
Bb clarinet, live electronics (9:35)

Op. 243
Unknown piece (arrangement of a piece by an unknown composer)
2 alto saxes, tenor sax, bar. sax, 2 tpt, 2 tbn, pf, bass, drum kit (4:10)

Op. 242
Fallen Feathers (arrangement of Quincy Jones’ piece)
2 alto saxes, tenor sax, bar. sax, 2 tpt, 2 tbn, pf, bass, drum kit (3:15)

2000

Op. 241
Was There A Time (setting of the Dylan Thomas’ poem)
alto, vocalizing str. quartet (4:00)

Op. 240
The Jazz Corner (arrangement of Ernie Wilkins piece)
alto sax, pf, acoustic bass (3:15)

Op. 239
4 Minutes and 40 Seconds of Useless Noise
radio, tape, pf, percussion, microphone (4:40)

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