Research Context: The piece looks into structural and expressive melodic aspects of Middle Eastern maqamat within a formal architecture derived from Hindustani classical music, all through a Western perspective.

Methodology: The main theme utilizes Maqam Bayati supported by Western harmony, transitioning into Hijaz Kar during improvisational sections. The structural framework is modeled on Hindustani raga performance practice, beginning with an unmetered alap to establish the melody without a fixed pulse, followed by the jor establishing the rhythmic pulse. This leads into rhythmically active and rapid taan passages. The piece concludes with a modified tihai based on an Arabic Jins Hijaz melodic cell; rather than literal repetition, each of the three iterations is repeated within itself and then progressively shortened, until the piece dissolves into a fading coda. This approach prioritizes melody as an organic, evolving entity shaped by microtonal nuance and ornamentation.

Research Context: Layering diverse yet related sounds from musical traditions around the world. From distinct microtonal systems in the intro to elements of flamenco, Western classical music, jazz, rock, and electronica, culminating in literal textural layering through electronic manipulation.

Methodology: Intro - G clarinet explores elements of Turkish microtonal music, combined with a Greek aulos, a marimacho from Puno (double flute from the Circum-Titicaca region), and Brazilian samba whistles. These sounds form a kaleidoscopic microtonal texture over Moroccan Gnawa qraqeb patterns.

                        Core of the piece - Melodic connections between the Arabic maqam Hijaz and Spanish flamenco made me expand the initial idea into a larger composition. The final piece integrates flamenco harmonic language with jazz, fusion, classical timbres, drum’n’bass, and electronically layered textures built through overlapping loops.

Research Context: Integration of Afro-Brazilian sounds within a contemporary jazz septet framework. A single thematic idea is continuously reshaped and recontextualized, seeking a developmental logic based on continuous variation and contrast rather than repetitive formal structures.

Methodology: The piece combines post-bop language - such as harmonic and melodic minor harmony, instrumentation, alternation of written and improvised sections - with Afro-Brazilian percussive textures and layers. Structurally, it is based on the concept of “continuous variation”, developing a single thematic idea across the entire work.

Research Context: It demonstrates large-ensemble writing and the development of concise thematic material. Traditional Western compositional techniques shape the work. Extra-musical references from the Zoic multimedia project inform the musical discourse and formal structure.

Methodology: A 2024 chamber orchestra suite based on music originally developed for the Zoic multimedia project (2014–2016), which included books, animations, and interactive games. The suite presents the main thematic materials and develops it through five variation sections, followed by a solo violin variation and a final one that culminates in a triumphant imitative fugato.

Research Context: Use of extra-musical sources as creative starting points, as found across musical traditions worldwide, including Korean sijo, Arabic samai and ghazal, Sufi qawwali, and German Lieder.

Methodology: The process begins with the selection of an extra-musical source as the conceptual basis of the piece. A limited set of musical materials is defined and developed through variation, extended techniques, and asymmetrical formal structures, allowing the music to reflect the text while maintaining internal coherence.