musician

person

A new compositional approach in which spectral analysis and the decomposition of sound into frequencies become the raw material for music. Frequencies, noise, and overtone structures are reshaped into parametric forms.

Research into the interplay between human intuition and algorithms. Central tools include Opusmodus and functional programming, where the role of the composer dissolves into a system of parameters, code, and sound.

Combines strict mathematical logic with artistic exploration. Draws upon the history of mechanization, cybernetics, and digital culture, raising questions about how music is structured, performed, and imagined in the age of machines.

Drone based on spectral analysis of D. Shostakovich’s To October

Since the very idea of reference is central to postmodernism, I was fascinated by the possibility of creating a generative derivative work based on another technically reproducible piece. At the same time, I did not want to directly borrow from it by sampling.

I used the results of decomposing the sound waves of Shostakovich’s Symphony No. 2 “October” with Fourier transform spectral analysis, combined with filtering methods and generative techniques. This process yielded a set of MIDI signals, which I sent to an analog synthesizer and recorded on a Roland SP404 mk2 phrase sampler.

Rubezh Face2Face exhibition

Spectral Drone
on Shostakovich

Wednoisea, Tbilisi, 2025

An audio-visual work (collaboration with C. Gorski) meditating on the tension between continuity and rupture, on the role of tradition, and on the mechanisms by which traditions are displaced or transformed.

It consists of three logical parts:

• the existence of tradition (dnb, samples: T. Murail, L. Desyatnikov)

• revolution (noise, samples: Lenin’s speech)

• the birth of the new (noise beat / digital spectralism) — Lenin’s speech used as a source for FFT spectral analysis

contacts

For collaborations, performances, and inquiries, please contact: