Omnipresent (2023) for Stereo Acousmatic Music


"Omnipresent" was the first composition I created using Polymorphism Sound Synthesis (PSS), a method of sound composition that involves controlling five distinct sound generators through a single polyphonic data input. Inspired by Kokoras's Fab Synthesis, this technique involves assigning specific chaotic algorithms to each sound generator to process the incoming control data, resulting in various sound textures and forms. This approach to composition differs from traditional methods in that the composer first creates and manipulates sound materials before organizing them into the desired structure. With PSS, the sound itself emerged as a result of the composer's practice, establishing a more intuitive connection to the sound. In this composition, seven polymorphic sounds, each lasting about one minute, were connected sonically through a circular sound constantly present throughout each polymorphic sound. 


Antithesis (2021-2022) — Electroacoustic Composition

Format: Two channels (stereo)  


This piece is composed during the 6th Melbourne lockdown. All the sound materials are based on the recording of the surrounding object that interacts with me daily.  

Since I lived in a small apartment, my movements are constrained within particular premises (bedroom, living room, kitchen, balcony) that created a unique pattern, inspired me to interpret it into two compositional approaches: Sonic structure and sound spatial. 


There are four movements in this composition, and although there are structurally "separate," but sonically bound. This connection is present through scratching sonic texture morphing over time and existing within each movement. In terms of spatiality, each sound (track) is moved either clockwise or counter, creating an immersive layer of aural experience. Through these composition approaches, I'm trying to reflex on how the current social circumstances affect us. And how, as a composer overcoming these uncertainties in creative ways.  

Circle (2015) Live electronic composition for Gamelan (pesindhen/singer)

Sound Scape of Frankfurt (2015) Soundscape composition, based on the field recording of Frankfurt, Germany

Benjolin (2015) Electroacoustic Composition for Octophonic Speaker

And The Dead Shall Has No Dominion (2014) Electroacoustic Composition for Octophonic Speaker

Kecapi Series I – III (2012 - 2016) Multichannel Algorithmic Composition

Land of God (2013) Sound Scape Composition of Bali, Indonesia