for String Quartet, Gamelan Ensemble, Readymade objects and Olfaction

This work includes multiple meaning levels of abstract thinking, language, cultural practices, and synthesis of perceptive modes. It is technically surrounded with various principles of sound illusions and cyclic phenomena; many of these compositional decisions are strongly associated with the problematics of violence and trauma, as well as gender and power relations. It elaborates feelings of being haunted by the specters of the past, the future, and the moment, of being haunted by the Cin, a particular other-than-human person in central Anatolian culture.

Düşük also comes with a spectral manifestation in its text. Masculine oppression and violence to women is an undertone. In what extent? This manifestation is deeply connected to the Oedipal Triangle and desire innate in musical creation and material properties of imagining with sound, its expression. I do not only engage with Deleuze and Guattari's robust theory on Freud's; my focus is the binary, the Oedipus Trilogy, the concept of oracle, destiny, leading to unbendable binaries of the human social constructs, shaping the inner musical drama of Fallen (Dusuk). Temporality is nonlinear in the oracle, make, made, and made by it. This is why the cognitive illusions take over the behaviors that are defined in each moment of expression of this piece. Harmony is multidimensional and multidirectional, although keeps the drama in a linear flow, as in the classic tragedy that is haunted by the cultural forms of ghosts, this time the other-than-humans, cins.

.Düş.ük (Fallen-Gamelan and String Quartet version)

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