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Transmedial Aesthetics and Mimetic Models in the Music of Panayiotis Kokoras

Landon Morrison

Nuove Musiche Numero 5 - 2018, pagine: 119-139
DOI 10.12871/9788833395376 | @ Pisa University Press 2021
Pubblicato: 20 settembre 2021


This article is the second installment of a two-part study on the music of Greek composer Panayiotis Kokoras (b. 1974). The first part featured an in-depth interview with the composer, during which he outlined the rough contours of his creative process as viewed through the lens of a single work – Mutation (2015) for solo clarinet and electronics. Expanding on our discussion, this article pursues further questions about the place of new media in the composer’s workshop, framing the issue within the context of his musical output over nearly two decades. I continue to build on the concept of transmediation, which I argue provides a useful way of thinking about the fluidity of sound in computer based composition. But here, greater attention is paid to how the movement of sound across different modes of being and representation engenders audible effects, allowing concrete sounds to assume a more abstract character as sonorous simulacra.

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