11th International Scientific Meeting for Sound and Musical Instrument Studies, Coibra, Portugal

With Vasiliki Legaki and Arshia Samsaminia on July 22nd we held a lecture-recital on various aspects of cross-cultural instrumentation within a new music compositional context and presented our recent works. The program entailed following works:

  • Dimitri Papageorgiou, Oumuamua (2022) for kanun and string quartet
  • Vasiliki Legaki, Emvoes (2023) for kanun, lyre, and electronics
  • Arshia Samsaminia, Gereh II (2023) for oud and fixed media

ABSTRACTS

Dimitri Papageorgiou, Integrative-synthesis in ‘Oumuamua for Kanun and String Quartet’

This presentation delves into my recent work, Oumuamua (2022), for kanun and string quartet. The work’s cross-cultural instrumentation exemplifies an interplay between traditional and Western instruments, intertwining their respective musical languages within a transcultural context and creating a conversation that transcends cultural boundaries. The name Oumuamua “reflects the way in which this object is like a scout or messenger sent from the distant past to reach us,” according to the International Astronomical Union. In some ways, this is similar to my interpretation of the kanun, which is a messenger rather than a scout, in its interdisciplinary dialogue with the Western string quartet, in which the message from the distant past changes the receiver but that results in a shift in itself.

The presentation focuses on two aspects: a) the integrative-synthesis mode (Barry, A., Born, G., & Weszkalnys, G. (2008). Logics of interdisciplinarity. Economy and Society, 37(1), 20-49) will be discussed as a principal compositional strategy in Oumua- mua, and b) special attention will be given to the blending of micro- tonal elements which are derived from the tunings of the kanun.

Vasiliki Legaki, Tinnitus of tradition within a contemporary context – ‘EMVOES for kanun, lyre and stereo electronics’

This presentation examines how traditional instruments can be en- gaged in a new musical environment by providing new techniques, procedures and methods, but also by keeping their folklore attitude. Focusing on my recent work EMVOES (tinnitus) for qanun, lyre, and stereo electronics, the discussion refers to the possibility of both instruments producing distinct timbres and textures and their combination with electronics creates multilayer and multiform sound events. I focus on how the natural and electronics sounds can provide homogeneous mixtures of timbres that co-exist, tangle or reverberate, interact, and collide with each other, rendering a sound world that mirrors the sounds of traditional music, mainly coming from the musical roots of both instruments. Finally, the presentation explores the actualization of these methods dealing with a new no- tation in the score, the introduction of new compositional ap- proaches (spatialisation and spatial music), and my personal experi- ence working with both musicians for the performance of this piece.

Arshia Samsaminia, The benefits of cross-cultural music/instrumentation projects: a brief review of ‘Gereh II for oud and fixed media’
Cross-cultural instrumentation plays a significant role in contempo- rary music by introducing new sounds, expanding artistic expres- sion, and promoting cultural/ethnic diversity. The integration of tradition and modernity allows musicians to explore timbres and textures not found on commonly known standard instruments. This occurred in one of my most recent compositions, “Gereh II”, in col- laboration with The Aristotle University of Thessaloniki and stu- dent performers. Gereh is the Persian word for nodes and edges. In accordance with the title, I have divided my compositional materi- als into two main materials. The “nodes” represent moments when tones interact smoothly, while the “arcs” represent different materi- als, such as percussive effects and extended techniques. When sounds meet and gradually move away from each other, it can cre- ate an interesting effect known as “divergence” or “expansion.”

This technique is commonly used in various genres and styles of music to create a sense of spatial depth, tension, or transformation.