Sketch2

vocal - Elzė Raubytė
author - Ieva Raubytė
photo - Grytė Norkutė
many thanks to Paulius Mscichauskas
2020

Ieva ir Elzė - tylumoj.du

use your headphones while listening :)
ambisonic mix is coming out soon
made out of kanklės

Batumi_Ali and Nino_ Binaural

vocal - Elzė Raubytė 
composed by Ieva Raubytė 
photo by Grytė Norkutė 
consulting and mastering - Mantautas Krukauskas

Crying Woman

Composition for the IVth and Vth chapters of Guy Maddin's film "Cowards bend the knee" 2003 for tuba, electric guitar, alto saxophone, percussion, double bass and electronics.
Performed by Contemporary Music Ensemble "Synaesthesis" 
Recording: live performance at "Druskomanija" festival 
2022

Chapters IV and V (soundtrack from Guy Maddin's film "Cowards bend the knee")

SSAA TTBB
Used poem: Marius Jonutis "Kaimo pasaka"
Record from live concert of Vox Juventutis competition, performed by choir „Jauna muzika“, conductor Vaclovas Augustinas
2022

Kiekvienas Dangus Kitoks (Every Sky Is Different)

For electronic tape and double bass
Performer: Donatas Butkevičius
2022

dýfa

Soundtrack from the film "KLOSTĖS" (director Aideen Barry, (Kaunas 2022))
www.klostes.com
Voice: Elzė Raubytė <3

Soundtrack from the film "KLOSTĖS" by Aideen Barry, (Kaunas 2022)

STELLATUS

Poets Wife

"Hapticē" (The Science of Touch) (2023)

H A P T I C Ē. The term Haptika (English: haptics) originates from the Greek word "haptesthai," meaning "related to the sense of touch." The composition explores sound as a sensory experience of "touch," examining the manipulation of the dynamic movement of sound elements and their timbral transformation in space, both for the performer and the listener. In this project, space and sound timbre become the primary compositional elements, interacting to create a simulation of merging. The focus is on how sound can be relocated timbrally and spatially, and what proportion exists between space and timbre in general.

In the piece, the performer controls parameters, causing the sound to migrate through space, gradually forming temporary sound sculptures with internal nuances – changing timbre and texture. As the relocation of sound elements progresses, at the end of the composition, the sound elements transform into a sound event with a multilayered body, affecting the listener. It is essential for the listener to focus on the musical material, as ambisonics can turn it into a tactile experience, and the texture impact is adaptable during the performance.

The submission includes a binaural recording.

Performance Dates:

October 26, 2023, at the "Volt & Vibe" concert in the LMTA sphere
January 5, 2024, at the "IDEAS BLOCK – Compressor" concert

:  : ::h a p t i c ē:: :  : (live)

Territories of Light (2024)
for virtual string orchestra and monophonic synthesizer

The original idea for this piece came to me while I was on a wild beach, listening to the waves crashing against the smooth, hand-sized stones. The sound of the water, with the rocky shore, was quite different from what I was used to hearing. I probably adopted this frequency merging into the piece. I call the "light" the merging of frequencies (somewhere between 1.5kHz and 8.5kHz) that I heard in the wave crash.
  The composition features a virtual string orchestra. Strings were chosen to explore different timbral applications within this context and to discover the string sound I find most appealing. The piece employs artificial glissandos and tremolos to enhance its texture.
  This composition is structured as an improvisation with a synthesizer arpeggiator. The synthesizer sound remains as a retrospective element and a foundational layer from which the string music evolved. The piece highlights the correlation between string and synthesizer timbres and addresses the theme of simulated music.
  I refer to the "territories" as excerpts from this improvisation, based on the main theme presented at the beginning and end. The form follows a mirror or arch principle.
  The intermediate segments—intermediaries or variations—stand independently yet share common elements, layering and uniting with each other.
  Audio processing techniques such as reverb blur, feedback, and vector delay were applied minimally to preserve both the simulated and „natural“qualities of the strings.
  The piece is relatively dynamic. It is important to note that the strings are mechanically "scordatura-tuned" according to LaMonte Young's tempered tuning system.
Structure and Sections of the Piece (the territories tend to overlapp, so duration is approximate): 
- Introduction A: 00:00 – 01:12
- Main Theme B: 01:12 – 04:56
- Territory I: 04:56 – 06:14
- Territory II: 06:14 – 08:10
- Territory III: 08:10 – 10:00
- Territory IV: 10:00 – 11:50
- Territory V: 11:50 – 12:40
- Territory VI: 12:40 – 14:50
- Introduction A1: 14:50 – 15:00 
- Main Theme B2: 15:00 – 17:18

Territories Of Light (virtual string orchestra)

wonders

Electroacoustic composition for kanklės and electronics, 2025
The composition was created in collaboration with contemporary dance student Sandra Konovalova. The musical material consists of live-recorded kanklės improvisations, electronics, field recordings, and the use of RAVE (a real-time AI-based audio processing system), incorporating various of its models, including one generated by the artist herself from her own choral composition.

In the cherry orchard
All day long, the cherries bloom
In the village,
Juice has spilled.

Indescribable beauty,
You want to eat them,
I am full of goodness,
Eat me.

Idea, choreography, and performance: Sandra Konovalova
Work mentor: Aira Naginevičiūtė
Sound composer: Ieva Raubytė
Costume designers: Tatjana Tatarinova, Sandra Konovalova
Video projection: Aurelija Jakimavičiūtė, Eglė Valuckaitė
Producer: Gabrielė Golubovičiūtė
Technical team: Ula Gudavičiūtė, Mantas Kraskauskas
Photo: Aurelija Jakimavičiūtė
Performed at the Faculty of Theatre and Dance at LMTA.
04.04, 04.05, 05.23

(LT)
“Vyšnių sultys teka atgal”.

Vyšnios sode
Visą dieną žydi
Vyšnios kaime
Sultys išsipylė

Grožis neapsakomas
Jas tu nori valgyt
Gėrio kupina esu
Tu mane suvalgyk

Idėja, choreografija ir atlikimas: Sandra Konovalova
Darbo mentorė: Aira Naginevičiūtė
Garso kompozitorė: Ieva Raubytė
Kostiumo dizainerė: Tatjana Tatarinova, Sandra Konovalova
Video projekcija: Aurelija Jakimavičiūtė, Eglė Valuckaitė
Prodiuserė: Gabrielė Golubovičiūtė
Technikos komanda: Ula Gudavičiūtė, Mantas Kraskauskas

04.04, 04.05, 05.23 LMTA, šokio ir teatro fakultetas

"When the cherry blossom starts bleeding" (composition for a dance performance)

Meander (2024), composed by Ieva Raubytė.
Recording from “Folefest” festival’s concert, Lisbon, Portugal; performed by: Beatriz Silva (clarinet); Angelina Fonseca (violin); Raquel Botelho (violin); Francisco Martins (accordion).

Ieva Raubytė

Popular tracks