Here are the theme song (intro), loop, and outro for Unsung Stories: Women at Columbia's Computer Music Center Soundtrack. The three tracks have 5 unifying samples from old CMC's orphan tapes. 

Created by yours truly.
Mastered by Murat Colak (@murat-colak-1)

This podcast is produced by Zosha Di Castri, Ellie Hisama, and Paola Cossermelli Messina, with editing by David Adamcyk. Our theme song was composed by Diana Marcela Rodriguez. You can learn more about her music and work at dmr.land. This project is made possible by the generous support of a public outreach grant from the Center for Science and Society, an anti-racism seed grant from the Office of the Provost, and a Diversity Matters grant from the Arts & Sciences' Committee on Equity and Diversity. It is co-sponsored by the Society of Fellows/Heyman Center for the Humanities, the Fritz Reiner Center for Contemporary Music, the Department of Music, The Institute for Research on Women, Gender, and Sexuality (IRWGS), the Computer Music Center at Columbia University (CMC), the Sound Art Program at Columbia University, and the Barnard Center for Research on Women (BCRW).

Unsung Stories (Intro Theme)

SUNSOAKED
for trumpet, tuba, violin, violoncello and electronics | 2022

Written for and performed by Ensemble MusikFabrik
Live recording, April 8, 2022
Recorded by Seth Torres
Mix and Mastering by Murat Çolak
Artwork by Nazlı Cengiz

SUNSOAKED (2022) / Ensemble MusikFabrik

Program Notes:
Listen for the subtle,  short, interrupted sine waves within electronics that cause the speakers themselves to emit ‘pops’ and
crackles, interrupting the acoustic instruments and tape playback. We’re not hearing the sine wave but rather the effect of the sine wave on the speaker’s mechanics turning the speaker itself into an acoustic element; thus giving these objects an active role rather than accepting them as a passive (playback) tool. Usually this treatment is avoided and seen as a mistake but in this piece it functions to address the physical mechanics of the speaker, of its own body, and demanding it to become more. To add to this, the percussionists are playing custom made “speaker-instruments:” subwoofer speaker cones transformed into an open air (and in a sense, large contact) microphone. This configuration allows the percussionist to physically perform low resonant tones and high washes of live filtered noise not possible outside this setup, with the hope to merge electronic and acoustic instruments into one composite organism, dependent on this merging to become more than just an extension of itself. The live processing portion of the work is that of rapid panning of the live acoustic instruments between two stereo speakers. This panning reaches audio rates and thus from this rapid oscillation causes its own square wave-like tone: the electronics sounds blooming from the acoustic in a symbiotic, intertwined creature like lichen.
This piece engulfs two prior pieces of mine that I’ve been working on for the past few years, “Harbinger” and “Speaker Spit.”

Instrumentation: Amplified vln, vc, piccolo, trumpet, e. gtr, midikeys, b-flat clarinet and live processing

Premiered and Performed by Nadar Ensemble
Mastered by Murat Colak
Mixed by Kelley Sheehan

Creature Like Lichen (2022)for chamber ensemble

DM R, composer
Performed Alarm Will Sound

Live at the 2021 Mizzou International Composers Festival, July 29, 2021

My piece is driven by one sound on what Totó la Momposina describes as the music of the old days. The unintended sliding sound in “La Candela Viva” is the relentless perpetual center. This “mistake” sounds like an airy marimba, which interplays and moves around between the tape and instrumental funk sharp attacks while the synth serves as an evolving mysterious drone.
— DM R

I watched them burying me

Looks but Glances | for ensemble and electronics

Conducted by Thomas Nicholson 

Commande du GMEA - Centre National de Création Musicale d’Albi-Tarn
Enregistrement à l’Athanor à Albi le 6 août 2022 et mixage par Benjamin Maumus - ingénieur du son du GMEA

Mastered by Murat Çolak
Artwork by Mona Osterkamp

Looks But Glances (2022) / GMEA

@bearcats_mixtapes has been with us from day one, like legit the moment the first record played, before, in fact ;) Sharing this anniversary with her is momentus on so many levels but mostly because we get to witness her share her passion with you. Here's to ten more years, babygirl!

CARRY BLOWOUT BLITZ: BEARCAT

"Who Wants to Listen to That?" audacious artwork defies conventions, immersing visitors in a provocative exploration of sound. Chaos intertwines with playful creativity as polyrhythmic tape delays and experimental heavy-metal-free jazz collide.
The work’s mastery shines through Joy’s recording of multiphonic voices in the bassoon, TAK's audiovisual score performance, and live processing responses. Boundaries between electronics and acoustic elements crumble, revealing a daring sonic landscape.
Textures unfold and mutate, blending vicious attacks with ethereal drones from the resonating thunder tube and singing bowl. Perception is stretched to its limits as spatialization techniques engulf listeners in a multidimensional realm of rebellion.

Dynamic shifts guide visitors through hyperactive gestures and irreverent moments, evoking a sense of defiance and audacity. Long reverbs and precise delays create contrasting sonic environments, further amplifying the work's rebellious spirit.
"Who Wants to Listen to That?" embraces the audacious beauty of intangible sound, challenging norms and expectations. Prepare to be transported into an electrifying experience that defies conventions and ignites a rebellious spirit of sonic exploration.

Huge, huge thanks to Laura, Madison, Marina, Charlotte, Ellery, and Joy, whose patience, kindness, brilliance, friendship, and magical sounds made it possible. 

Big shoutout to Taylor Brooks, David Bird, David Adamcyk, and Murat Colak for the extra support! Let's celebrate the spirit of collaboration and the incredible power of artistic synergy. I am forever grateful for your invaluable contributions.

Who Wants To Listen To That

Commissioned by Americas Society

Performers: Charlotte Mundy, Soprano
Yoshi Weinberg, flutes
Madison Greenstone, clarinets
Russell Greenberg, percussions
Kathryn Sloat, harp
Alec Goldfarb, electric guitar
Pala Garcia, violin
Thea Mesirow, cello
Tristan Kasten Krause, double bass
Yanqi Chen, electronics
Sebastian Zubieta, conductor

Mixing and Mastering by Murat Çolak at GERYON Label.

Mors Osculi (Live performance)

stranger (hot)

~ Significant low and sub frequency content. Please use full range headphones or speakers ~

An electroacoustic arrangement of one of the few remaining instrumental pieces written by the enigmatic Ottoman composer Dilhayat Kalfa (ca 1710-1780). 

Written and performed in 2018, Müselles Saz Semâisi was requested by the MATA Jr. Music Festival in which I had taken part as a faculty member.

Composed for the talented flutist Jonah Murphy. 

Stereo recording of the premiere performance. 

All rights reserved.

Müselles Saz Semâisi

Müselles Saz Semâisi (2018)

I'm a composer, mastering engineer, mixer and record producer based in Manhattan.

All inquiries: 
muratcolakmusic@gmail.com

Müselles Saz Semâisi (2018)

Murat Çolak

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