Portfolio and Exegesis: Composing Through a Spectral Scope

The current research focuses on the spectral nature of sound, its timbre manipulation and contribution to the overall syntax of a composition. It describes the compositional thinking that emerged in the early 20th Century, and further recognized by the spectralists, which acknowledges timbre as an autonomous phenomenon and an agent of music creation. It also describes the spectral composers’ technological advancements and influences from the early electronic studios and the adaptation of electronic techniques in the acoustical domain. Furthermore, it includes my methodology and preoccupations concerning the creation of compositional models and the reliance on dynamic analysis techniques for the fabrication of material that serve as a guide for formal structures