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”)

O som foi inspirado na música Animals, do meu DJ favorito, Martin Garrix. A ideia inicial era usar um excerto dessa faixa para representar o tema Rhythms and Patterns, já que a música tem uma batida eletrónica muito marcada e repetitiva.
No entanto, devido aos direitos de autor, recriei e modifiquei o som no Audacity, dando origem a um ritmo próprio que acabou por resultar num efeito semelhante a um ping-pong, mantendo o foco nos padrões e repetições rítmicas.

Nota: O som foi editado no Audacity com compressão, normalização e pequenos ajustes de pitch e tempo, de modo a manter o ritmo constante

Week Sound 4- Rhythms and Patterns(Martin Garrix)

A walk across the city center of Coimbra. As I walk alongside the tourists, I hear a saxophone playing far away, almost calling me closer to it. A man is walking faster than me dragging his trolley bag. Maybe he's comes from a far away place. The people laugh and seem to be having a nice time. Far away, I can hear traffic but most closely, my synthetic jacket rubbing against each other. I hear a pop, maybe champagne? A lot of murmuring but a sweet little chirp could be heard towards the end.

Week Sound 3 - Urban Sounds

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).

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