Client based sound art and sound design work for Kuwaiti film director, architect and designer Maysaa Almunim for her residency at Doha fire Station. Presented at the group exhibition "Grey Times" from 20 January til 24 July 2021.

Maysaa redefine herself through heritage and in particular through her grandmother's stories. "She live in a time of great change for women in Kuwait; her life was precarious negotiation between independence and duty, joy and sorrow hardship and bounty. A traditional seamstress, she spent long hours amongst  mounds of fabric and bundles of thread. She kept herself and me entertained by recounting a blend of family stories, mythical stories and folk songs. As a child I waved my own identity by listening to her tales".

During the process of the creation Guillaume accompanied the artist to her journey of listening to expresses her emotiontion and memories through sound. Rousere, designed for this pro

She sits by the water and comb her hair

fragmented mood (2)

O áudio começa com passos em gravilha, acompanhados pelo som suave do vento. Gotas de água caem ao longe, criando uma leve reverberação. O vento vai diminuindo, e ouvimos morcegos surgirem, com seus movimentos rápidos e breves. À medida que os morcegos se tornam mais presentes, as gotas ganham um eco mais forte, aumentando a sensação de estar numa caverna. O som dos morcegos intensifica-se, mas logo começa a diminuir. Finalmente, o vento retorna, mais forte, sugerindo a saída da caverna para um espaço aberto e vasto.

WeekSound4 - Rhythms & Patterns

O início da obra é marcado pelos sons tranquilos da coruja, raposa, grilos e o fluxo suave de um rio, que evocam a serenidade e o mistério da noite. Esses elementos criam uma atmosfera enigmática e silenciosa, dominada pela natureza, onde a presença humana é ausente.

Com a chegada do amanhecer, o canto dos pássaros anuncia o despertar do dia, trazendo movimento e vida. O som de um autocarro sugere o retorno da atividade humana e o ritmo acelerado da civilização, contrastando com a quietude da noite.

Whispers Of Dawn

Pac-Man (2024) for percussion sextet
Total Duration 9' minutes

Ensemble Holophony Project
Preview Full Score at www.panayiotiskokoras.com/compositions/
Studio edited mix © Panayiotis Kokoras

Pac-Man [percussion sextet]

APE (2019) for fl, b.cl, perc, pno, vln, vc, cb, elec. 
Duration 11’ 30 minutes.

Ensemble Holophony Project
Preview Full Score at www.panayiotiskokoras.com/compositions/
Studio edited mix © Panayiotis Kokoras

APE [fl, b.cl, perc, pno, vln, vla, vc, db & elec]

Bellow (2021) for accordion and electronics. 
Duration 9:25 minutes

Ensemble Holophony Project
Preview Full Score at www.panayiotiskokoras.com/compositions/
Studio edited mix © Panayiotis Kokoras

Bellow [accordion & electronics]

Loveletter to Cambodia. 

contains work: Cambodian Liberation Songs
by Banteay Ampil Band

binaural sound journey

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I hauled the carpet over the railing and beat it like it owed me something—dust bursting out in filthy clouds, catching the light like grit in a wound. This soundscape begins with that single moment: the thud and rasp of fabric, the crack of effort, the release. Composed entirely from one recording—shaking out a carpet on a balcony—the sound is stretched, fractured, and reassembled until it becomes something else entirely. A domestic gesture turns seismic. Familiar textures are pulled loose from their source and allowed to mutate, accumulate, and echo.
What remains is a residue of rhythm and force—part memory, part invention.

House Play

The choice for the first week’s sound sums up my second home: the football dressing room.
After many years as a player and now as director of União Desportiva Sampedrense, it was in the locker room that I built my second family — the family of friendships. 

Music is never missing, especially Brazilian funk, which is the constant background sound in the locker room. What stands out as the keynote sound is the arguments between the staff and the players that drive them crazy. Walking down the corridor, you can hear laughs, footsteps, the clatter of studs and the noise of the washing and drying machines.

Week Sound 1 - Home Environment (“Football Dressing Room”)

Panayiotis Kokoras studied composition with Yannis Ioannides, Henri Kergomard, Kosta Varotsi, and classical guitar with Evangelos Asimakopoulos in Athens, Greece. In 1999, he moved to England for postgraduate study at the University of York where he completed his MA and PhD in composition with Tony Myatt. His works have been commissioned by institutes and festivals such as the Fromm Music Foundation (Harvard), IRCAM (France), Guggenheim (New York), MATA (New York), Gaudeamus (Netherlands), ZKM (Germany), IMEB (France), Siemens Musikstiftung (Germany) and have been performed in over 1000 concerts around the world. His compositions have received 98 distinctions and prizes in international competitions and have been selected by juries in more than 350 international calls for scores. He is president of the International Confederation of Electroacoustic Music (ICEIM-ICEM) and a founding member of the Hellenic Electroacoustic Music Composers Association (HELMCA) and from 2004 to 2012 he was a board member and president. Kokoras’ sound compositions develop functional classification and matching sound systems written on what he calls Holophonic Musical Texture. As an educator, Kokoras has taught at the Technological and Educational Institute of Crete, and, the Aristotle University of Thessaloniki (Greece). Currently, he is Regents Professor of Composition at the University of North Texas and director of the Center for Experimental Music and Intermedia (CEMI).

Bernadette Johnson  is author of sound compositions for radio, internet platforms, sound galleries, listeningfestivals and others, based in Basel. 
"My focus is on the emotional and atmospheric dimension of sound.
Using digital and analog techniques, the smallest fragments from all areas of the audible world are composed into complex soundscapes."

New tracks tagged #Sound Composition