These excerpts are taken from my score for Humanhood Dance's '∞ [Infinite]'. 'Infinite' is a dance theatre meditation in which the audience are guided through a mystical journey. The outside world of the magical dance on stage merges with your internal awareness. 'Infinite' premiered in Barcelona, Spain, April 2022.

Infinite

Infinite Excerpt 3

Infinite Excerpt 4

Música compuesta para la obra de danza contemporánea:  Claustras, del colectivo Trayectos Danza, dirigido por Manfred Rivera.
Interpreta: Cuarteto Jade
Violín: Daniel Cambronero
Violín: Daniela Castro
Viola: Viviana González
Cello: Cristian Guandique
Producido en Casa Cedrali

Claustras

Rumble is a personal initiation into a new era. It encompasses a series of resurrections necessary to peel away the ancient, established layers and materialise into something entirely new and unknown. The author's transformations appear in the performance at times as gentle awakenings, and at other times as sudden and painful nightmares. Each experience represents an essential fusion of memory and nostalgia. In its starting point, the performance resembles a personal ritual in which the audience is invited to enter, observe and become a part of it. - Beno Novak (author/dancer/choreographer for GROM)

Composed by : Elvis Homan

GROM - Blacksmith/Kovač

SKIN is a contemporary choreography created and performed by dancer Priscilla Kuang. The music (Parts 1 and 2) was composed specifically for this performance.

Skin (Part 2)

SKIN is a contemporary choreography created and performed by dancer Priscilla Kuang. The music (Parts 1 and 2) was composed specifically for this performance.

Photo taken by Pasqualina Noël.

Skin (Part 1)

This sound piece was made for the performance 'Glimtar' by Sara Augieras & Madeleine Klintenberg Jonsson. 

"Glimtar was originally created at the edge of the Baltic Sea. It was born from a desire to reclaim the use of public areas as creative and interactive spaces. Water, as an element and as a location for gathering, has traditionally connected people throughout the world. The dance piece combines the reassuring and cleansing aspect of water with its more enigmatic and mysterious character found in tales of mermaids and sea creatures. You will be transported to an enchanted world of chiaroscuro, immersed in the sound and smells of the sea."

Music for dance piece 'Glimtar' by Sara Augieras & Madeleine Klintenberg Jonsson

This track was created for the dance performance "Comfortable Dissonance" by Bo Matthews from Bat-Sheva Dance Company. 

Composed by Erez Sivan & Guy Mintus 
Produced by EREZ
Piano by Guy Mintus

Earth - Music for “Comfortable Dissonance”

Michael Bibi - Center of My Soul (AWAL Remix)

안녕하세요! 현대무용 작곡 음악입니다. 단순 샘플링이라 1분~2분 사이입니다. 단순하게 느껴지실수 있는데 악기나 느낌 비트 들어 보신후 실제 작업을 하시게 되시면 길이 늘리는 거나 추가적으로 악기넣고 구성변경은 자유롭습니다.
궁금하신점 있으시면 편하게 댓글이나 인스타 통해서 문의주세요!

Instagram ID : Re-medley
YouTube ID : Remedley

RE - 현대무용 25

Composed and Produced by Behnam Arzaghi, February 2025, in collaboration with Alyssa Johnson and Paracosm Dance for Zach Young’s world premiere: An Exploration of Movement, Structure, and Integrated Design.

Levitations I takes its inspiration—perhaps uncharacteristically for me—directly from its title. In this case, levitations alludes to a violin lesson I once had with Arnold Steinhardt. He was already in his 70s at the time, and at one point, we took a break from the particulars of playing. (This was at the very end of my time pursuing violin professionally, so beyond the Bach Allemande I played for him, I hadn’t prepared much.)

I remember him talking about how the greatest violinists had such command and mastery of the instrument that, when you watched them play, it could appear as if they were levitating. But this was merely an illusion. He said that even the greatest players—"even Heifetz!" I remember him saying—must eventually come back down to Earth. Humbled by age, injury, or simply the impossibility of attaining perfection, it was bound to happen. And yet, he said, this was the ultimate work of any performer: to devote oneself to perpetuating the illusion of levitation for as long as possible.

So that became the theme of the piece: capturing the pursuit of craft, the ephemeral moment of levitation.

The piece opens with an inchoate soundscape. The elements of what’s to come—fragments of the primary bass line, sampled and distorted violin sounds—swim together in a disorganized, chaotic churn.

The main violin part represents the craftsman, entering with a bare three-note motif: a leap up, then a step down. The fragment repeats, much like a beginner trying to get it right. In the background, a chorus of strings responds in a layered, stochastic texture, demonstrating what the violin’s simple melody could become—much like a teacher might demonstrate for a student. Finally, the violin embarks on a full statement of the melody, stepping carefully through each note. As it gains footing, it begins to explore variations, floating over a slow-growing swell as the background strings permute and evolve.

The piece rises and falls at multiple levels of hierarchy: within the motif itself, within the main four-bar phrase (a stack of three motifs rising, then one falling), and within the larger structure—the first peak collapses into stillness before a second emergence. Cycles within cycles, waves within waves, yet never quite returning to the same place.

This becomes especially clear in the contrast between the two halves of the piece, split by a moment of silence at the six-minute mark. The second iteration lacks the tentativeness of the first. Like a seasoned craftsman recalling their once-beginner’s mind, the violin restates the motif—this time needing no invitation before launching into the main theme, moving through it with ease and freedom. Once again, the lines build, but just as the violin soars higher and the trajectory feels inevitably triumphant, the ground beneath it begins to collapse. The bass line begins a chromatic descent, pulling everything with it. The main line resists, climbing higher and holding on to its peak for as long as possible. But slowly, inevitably, it floats back down, eventually returning to the same shrouded soundscape from the very opening of the piece.

I added the "I" in "Levitations I" just because I think it's kind of funny and pretentious. ¯\_(ツ)_/¯

Levitations I



HERAIA est une création 2024 de la Cie Yasaman, dirigée par Sarah Adjou. 
Ce solo s’inspire des anciens jeux olympiques féminins dédiés à la déesse Héra, et explore la puissance féminine à travers une quête de rébellion contre les normes imposées au corps féminin.

La musique que j’ai composée pour cette pièce est née d’une rencontre intense avec des sonorités qui m’ont immédiatement inspiré. L’essoufflement féminin, le bruit blanc des supporters et le rythme d’un footing m’ont fourni une base sonore puissante et narrative. Ces éléments ont permis de créer une palette sonore fluide et dynamique, avec des textures qui soutiennent les enjeux chorégraphiques et plastiques du spectacle.

Chaque son a été soigneusement choisi pour résonner avec les thèmes de transformation et de résilience abordés dans la performance. La musique devient un miroir de l’athlète-danseuse qui se métamorphose, entre la divinité et l’objet, et qui dévoile une gestuelle hypnotique. L’aspect rythmique et le souffle féminin se mêlent dans une composition qui traduit l’effort et la libération, tout en accentuant l’intensité des sculptures en laiton créées par la plasticienne Ambre Cardinal.

Ce travail musical est une réponse intime à la vision chorégraphique et plastique du spectacle, où chaque son s’inscrit dans un dialogue avec la danse, le mouvement et l’espace.

HERAIA - The Running Pulse

Elvis Homan, studied bachelor drums at Codarts music academy in Rotterdam and Contemporary Composition - Live Electronics at Music academy in Amsterdam.

other links: 
https://soundcloud.com/elvis-hi-man
https://soundcloud.com/reiosound (band leader)
https://soundcloud.com/celestialturkey
https://soundcloud.com/void_noise
https://punkybuttonclan.bandcamp.com/album/are-you-punky 
https://quartzite4tet1.bandcamp.com/album/recrystallization
https://www.youtube.com/@ElvisHoman 





Contemporary (New/Classical/Electronic) music 
#Post Boulez
#Ircam
#Ableton
#MaxMSP
#Spear
#Musique Concrete
#Spectralism
#Film Music
#Sound Design
#Compositions
#Electro-acoustic
#Non-idiomatic
#Performance 
#Contepomrary Dance
#Orchestral
#Small Ensembles
#Large Ensembles
#Chamber Music




Original compositions by Elvis Homan

Fabián Arroyo Solano
Costarricense. Pianista; cantor, bailarín y compositor de músicas para artes escénicas.

I'm a composer and sound artist. I'm interested in the act of listening, phonography and finding musical ways to express these interests. Now and again I perform live with a laptop, creating soundscapes from field recordings. I do this solo, as Anvil & Stirrup with Antti Saario and with Annie Mahtani as SOUNDkitchen. I also compose music and create sound design for theatre, dance, film and audio drama.

More examples of my work are available here 
https://linktr.ee/iainarmstrong

Sebastian CUIZA GALAN est un artiste qui conjugue musique et mouvement avec sensibilité et curiosité. Il débute le piano au conservatoire dès l’enfance, et explore en parallèle ses origines boliviennes à travers la danse et la musique folkloriques. Au lycée Turgot, il rejoint la première promotion de l’option hip-hop — alors expérimentale — une expérience fondatrice qui éveille en lui un rapport profond au corps et à la scène. Il se passionne également pour la capoeira, l’acrobatie, l’escalade et les percussions corporelles, développant un rapport instinctif, ludique et organique au mouvement.

Après le bac, il poursuit des études de musicologie à la Sorbonne et débute en parallèle sa formation en danse académique à CHOREIA, où il découvre les techniques classique, moderne, contemporaine et jazz.

Inspiré par des compagnies telles qu’Eastman, Ultima Vez ou Hofesh Shechter, il affine sa technique auprès de leurs interprètes et approfondit sa pratique à travers de nombreux stages intensifs. Remarqué pour sa polyvalence, sa sensibilité et son goût pour l’improvisation, il participe à des projets variés allant de la comédie musicale à la danse contemporaine, en passant par le cinéma, la publicité et de grands événements.

En 2021, il fonde la Cie NOSOTR@S, un espace de création où il compose des univers sonores et rythmiques qui prolongent la physicalité métissée de ses chorégraphies. En tant qu’enseignant, il transmet des outils d’improvisation et d’acro-danse, en mettant l’accent sur les appuis, les déséquilibres et la dynamique martiale. À travers une approche sensible et imagée, il invite ses élèves à relâcher la technique pour laisser place au sensible et à l’intuitif. En parallèle, il compose la musique de courts-métrages, films d’animation et pièces chorégraphiques, en puisant son inspiration première dans le mouvement.

https://erez.komi.io/

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Management: jeff@monarchartists.com

New tracks tagged #contemporarydance