Pro audio copy
This is "Blossom" for Dizi/Xiao/Xun (Chinese flutes). Guan (Chinese double-reed clarinet), Suona (Chinese shawm), Sheng (mouth-organ), Chinese percussion, Liuqin (Chinese Mandolin), Pipa (Chinese Lute). Ruan (Chinese moon guitar), Yangqin (Chinese hammered dulcimer), Zheng (Chinese zither), Huqin (Chinese spike fiddles), Cello, and Bass.

As played by Singapore Chinese Orchestra at 2013 ACL Conference.

Sinatheasia (Blossom) for Chinese Orchestra

Listening to Voices
Pedro Rebelo, 2015

Binaural Sound Piece - To be heard over headphones only
Duration: 29 minutes

The Listening to Voices piece was created in the context of the project “Listening to Voices: Creative Disruptions with the Hearing Voices Network”, funded by the Arts and Humanities Research Council and led by Dr Gail McConnell, Dr Jo Collinson Scott and Dr Deborah Maxwell. This Connected Communities project was a collaboration with Time and Space (Glasgow), Hearing Voices Ireland and Hearing Voices Belfast. The piece is an immersive audio work employing three dimensional binaural audio techniques and is to be experienced with headphones.
The piece aims to delve into the experiential phenomenon of hearing voices. All vocal materials for the piece were gathered during a retreat with voice-hearers in 2015 during which activities focusing on listening were conducted, as well as interviews and field recording sessions. The work takes the listener through different sound environments and introduces the experience of listening to voices through short narrative fragments, descriptions articulating how the voices relate to the acoustic world and enacted performances.
The work is structured in four sections. A long introduction presents the experience of voice-hearing through short personal stories and ends with an enactment of the experience of hearing negative voices. The remaining two sections are episodes (“Lab” and “Restaurant”) which focus on the relationship between voices and the acoustic environment. “Lab” features accounts which attempt to describe the phenomenon of hearing voices and reflects on the challenges the medical profession has in understanding this condition. “Restaurant” explores how voices are triggered by everyday sound environments and often arise out of saturated listening experiences. The piece ends with a third episode “Night” which is based on an enacted performance exploring the role of positive voices and thoughts.
The enacted performances were fully improvised and featured only members of the voice-hearing community. I would like to thank the extreme generosity, sincerity and positive energy of all participants. This piece would have not been possible without their contribution and guidance.
Warning: The piece includes explicit content and adult language. Some listeners may find the voices featured in the piece very disturbing.

Listening to Voices

VERSE 1
O barren lady can’t you see
Your spring is coming, 
time to sing
Cast off the ache of pain
The reproach and the shame
Let your past be your past

VERSE 2
You think you'll 
never see the sun
You're learning 
how to limp not run 
You've got to learn to live
Don't forget who you are
You will live to go far
 
CHORUS
Lift your eyes, lift your eyes
There's a garden of spring
You can dance, you can sing
There'll be Spring!
Wipe away all your tears
And let goodness 
take your hand
O Come on dance, 
come on sing
There'll be Spring!

VERSE 3
What if you 
never reach your dreams
Why hold on to a hope so far
It's more the journey that gives life to your dreams
It takes belief, just believe 

BRIDGE
Come on dance, come on sing
There’ll Be Spring
O Come on dance, 
come on sing
There’ll be
Spring time is coming X 2
  Spring time is coming X 2
Flowers are blooming 
in the cool breeze
Pink, lavender and yellow 
Spring is a lover's kiss 
on his lover's cheek
It’s my favourite season 

OUTRO
Come on dance, come on sing
There’ll be
Spring time is coming X 4
There’ll Be Spring!

Vocals, melody, arrangement and lyrics by Crystal Goh
Backing Vocals by Clara Lim
Instruments by Crystal Goh and Clara Lim
Recording by Andrew Yeo at Canticle Music Studio
Mixing and Mastering by Jerry Chua at MYX Music Studios

There'll Be Spring

Timothy Tan - Worms (2017) for octophonic speaker setup.
Recording converted from B-format Ambisonics to binaural by Volkan Turgut.
Please wear headphones to listen.

Playing with spatialisation with popcorn fractals as a chaotic system, unleashing different trajectories and choreographies.

Performed during Sonology Discussion Concert 2 at Arnold Schoenbergzaal in The Royal Conservatoire, The Hague, The Netherlands on 6 Dec 17.

Worms (2017) (Stereo Version)

In this piece, I allow Dickinson’s poem (entitled 'parting') to fill my imagination as I give vent to the equivocal sense of anguish and yearning she expresses. Read more at https://www.notion.so/henghenghengheng/parting-e872cbeb4bfb4e07a0836eca42c62851?pvs=4

Live recording from premiere by RCM New Perspectives Ensemble
Conducted by Timothy Lines
Royal College of Music, London
Dec 2018

[Image photo by Andrei Lazarev on Unsplash - https://unsplash.com/photos/fypKMv4eqpA]

parting (2018)

Karya ini merupakan karya eksplorasi komponis akan ketertarikannya pada instrumen gamelan jawa dalam segi aspek tekstur dan timbre. Motif dari karya ini terinspirasi dari ketokan pintu seakan-akan ada keinginan untuk memanggil sesuatu.

Instrumentation: (Laras slendro) 
Saron,Peking, Bonang, Gender, Kempul

SEKARANG

Autour de moi - for 6 instruments
this version was recorded live at the Esplanade Recital Studio, Singapore by ProjectIDIOM Ensemble (dir. Moses Gay), Piano Solo: Bertram Wee

Autour De Moi 1 - ProjectIDIOM

for shakuhachi, sheng, cello, guqin, guzheng, percussion, piano
(live recording; performed by the AIR contemporary music collective)

sudden sculptures of the wind (2019)--for ensemble

Performed by the Aspen Conducting Academy Orchestra on July 14, 2019, at the Aspen Music Festival.

Geoffrey Loff, Conductor

Ashes and Embers

This work, “cs: bw{i’mpulses (ks:capricorn+taurus) frissons}ct”, is as the title expresses, a composition organised by Chung Shih the composer, two of his works, i’mpulses for keyboard and frissons for solo or multiple strings, around two of Stockhausen’s Tierkreis pieces, Capricorn and Taurus, in collaboration with pianist, Bertram Wee and violist, Christoven Tan. The concept behind this composition is inspired by the Medieval (clausula) motet, involving troping and iso-rhythmic techniques.

Hoh Chung Shih: cs:bw{i'mpulses (ks:capricorn+taurus) frissons}ct for piano and viola

Performed by re:Sound
16th Oct 2019 - Victoria Concert Hall, Singapore
Leader: Ike See

Commissioned by Resound Collective

Cover Art: "untitled" (2019) by Jonathan Lim  
Instagram: whereartjon
Email: jon.lim@live.com
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I. Prelude
II. Ceremonial
III. Rondo 
IV. March 
V. Passacaglia
VI. Moto Perpetuo

Stamford Raffles’ 1819 arrival in a fishing settlement then known as Singapura is inspiration for this work, which chronicles two centuries of triumph against the odds. The Suite reflects on pivotal moments in our history, and celebrates our indomitable spirit.

The Prelude opens with an undulating figure, upon which a simple, innocent melody is presented. This is the music of gentle surf lapping on the shores of white sand, of a tropical dawn at the break of a momentous day that will change the course of our island’s history forever. 

The arrival of the British is depicted in the Ceremonial. The strings proudly state the theme of the Suite (a literal-musical transcription of the eponymous digits): this proclamation is interspersed with punctuations by the winds. The movement concludes with a joyous re-statement of the 1-8-1-9 theme.

The next three movements are performed without break. In Rondo, different instruments feature concerto-style in a playful re-imagination of the multiplicity of cultures and ethnicities disembarking along the Singapore River. The fall of our country is depicted in March, before the instrumentation is drastically reduced in the next movement: a solo string quartet grieves over the increasing tumult of a string orchestra’s Passacaglia. 

The 1819 Suite concludes in a triumphant Moto Perpetuo - celebrating the past, and looking to the future.

Worms (2017) (Stereo Version)

timbretan