The Collected Electroacoustic Works are researching in the fields of tonality and atonality, duration and regularity, effect and concept, conventional compositions from intriguing, burlesque and inventive to extravagant. The artist inquires the concept of contemporary classical work, experiment with scales, religion, folklore means, tradition, medieval pieces, Neolithic layers, distortion, musique concrete, flosculas, and avant-garde forms. Electroacoustic works prove a possibility for the tonal nature of reality, compositional simulations which creates a sound or structure as to the concept of spectral processing and the compositional elaboration. The composer uses the full capacity of musical means, tonal and atonal, achromatic, polyphonic and cacophonic, lateral and distortive.
Especially in examining counterpoint, atonal and polyphonic compositions and expanding the understanding of value and aesthetics in music. The artistic value of music depends on the concept of value in music, and especially the category of aesthetic in avant-garde music.
The wider the aesthetics, the greater is the possibility and the deeper the impression in contemporary music. Hence, the greater the experience in art, the wider the attitude, the less there is triviality. Composition Carousel is enchanting and mesmerizing, with great octave diapason up to G9, Hypacoustic beautiful, hypertonal, Ritual subtle, Barlaam and Josaphat contemplating and ethereal, Three Circles fluvial, Ston sacral, Fusion new, Pythagorean scale with maqam arpeggios. Conceptual art is a conceptual act, an act that takes place in the medium and that corresponds to the content of art, the content of reality, but so that the originalization for action or correspondence regarding the medium is that the work of conceptual music is not an art object but it is therefore an act in the medium, that is, a concept that corresponds to equality and difference, because the art of music is an equipotent exchange, an experience and not a depreciation of the subject with regard to the impression and the act of music. Therefore, the act of music is correspondent and is always equivalent or appreciative.
The flow of constant, real time, time of reality and finally in relation to the experience of the act in music, music in relation to the act of "now" or simple temporality and ingenious process. The composer uses polyrhythmic sections, beautiful arpeggios, polyphonic sections, rhythmic-, volume couplings, acoustic simulation, hypretonal acoustics, and continuous legato, extended duration. The topics are as well various: birds, mosquitoes, perturbations, sacral objects, cities, waves, prehistoric sculptures, bubbles.
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