Ömer Kurtuluş

Composer, music technologist and sound artist. Sonic archaeology: composing by excavating and re-authenticating an over-saturated archive.

Works · 15

Electroacoustic

Fixed media and instrument-plus-processing works, largely spatial: ambisonic and multichannel composition.

01 Electroacoustic A Mechanics of Almost IV Aerolith An air-column instrument beside a resonating metal surface: bass-clarinet breath and multiphonics exchanged with a bowed cymbal's slowly transforming partials.

02 Electroacoustic A Mechanics of Almost II Afterglare The zurna's penetrating upper spectrum treated as a physical condition: sustained tones extended, upper partials exposed and separated until the instrument's apparent singularity fragments.

03 Electroacoustic A Mechanics of Almost I Anaculaton Timpani reduced to impact → membrane → resonance → decay, then interfered with: attacks activate virtual resonating bodies beyond the instrument's scale, alongside wind, tunnels, machinery and distant environmental resonance.

04 Electroacoustic A Mechanics of Almost V Craquelure Two forms of stored energy — harp-string tension and ceramic brittleness — brought to a region where their behaviours become interchangeable.

05 Electroacoustic A Mechanics of Almost VI Endobody The body as an arrangement of internal spaces: vocal cavities and a bass drum's enclosed volume, working from their structural similarity.

06 Electroacoustic A Mechanics of Almost III Intergrain A continuous scraping gesture examined at a much smaller scale — a pick's ridge-by-ridge contact across a string, set against the güiro's related structure at another physical scale.

07 Electroacoustic A Mechanics of Almost VII Remanence What remains after a sound's apparent cause disappears: prepared-piano strings, muted attacks and soundboard resonance, with springs holding excitation that re-emerges later.

08 Electroacoustic an arche One cello, three performers, none of them sovereign over it. Bow pressure and contact — not pitch — are the ground, analysed live by FluCoMa and diffused into a quadraphonic ring in which no fixed origin can be located.

09 Electroacoustic Arundo_Trachea The oboe stripped of all melodic function and reduced to its physical reality: a vibrating double reed and a hollow wooden tube, heard from inside the bore.

10 Electroacoustic Strata I STRATA A single cut through the ground of Istanbul: every historical layer sounds from the first second, separated only by height. Tuned to a pitch set measured from the call to prayer in Hagia Sophia — which is never heard.

11 Electroacoustic Fazz A commission for Mikayla Farmer, for oboe with electronics and light. Première scheduled for 2026; venue to be announced.

12 Electroacoustic Yörüngeler A commission for Duo Latitude, for two saxophones with electronics and fixed media. Première scheduled for 2026; venue to be announced.

13 Electroacoustic Focus Commissioned by FLYDLPHN. Ritual traditions from ancient Maya and Egyptian civilisations reimagined through American Expressionist poetry — a dialogue between ceremonial practice and contemporary artistic consciousness.

14 Electroacoustic The Consequences

15 Electroacoustic Lâ!