These works are part of my PhD portfolio which is concerned with the compositional application of physically inspired sound synthesis methods. This includes both abstract methods which are loosely based upon physical principles as well as physical modelling.
Most sounds are generated with the help of my custom built physical modelling library PMLib, implemented in SuperCollider and
Python for simulating systems of inter-connected 1D and 2D objects in the form of strings, bars, membranes and plates. For each work a different system was designed, each imparting its own characteristic identity onto the harmonic dimension of each work.
In addition, various excitation models have been designed, which are used to excite a given system of inter-connected objects in different ways. Some of these excitation models simulate a physical interaction like plucking, bowing, scraping, bouncing or rolling,
others are used to simulate environmental sources of sound like water drops and sea waves.
Musically speaking, the portfolio tries to explore the unification of harmony and timbre by exploring different ways of deriving harmonic form and progression from the spectral description of the sound itself, a constant interplay between what a listener may perceive as physically plausible and wholly abstract, and focusses on the slow development of texture over time in order to create movement and flow in the music.
The main idea being that the music is in constant flux without consciously directing the music from a beginning to an end in a strict linear sense. Instead, one is encouraged to appreciate the inner timbral details of the sound textures and how these develop and transform over time.