Music For Film at the Courtyard is a sonic installation composed of multiple layers which are mixed through a finite state machine to create an ever changing soundscape. The piece fuses Brian Eno’s concepts of ambient and process based music, with distinct classically structured musical elements.  Similar to ambient music, one can be aware of the piece as background, or stop and intently listen. The sonic colors cover the wide spectrum of various types of electronic synthesis, rhythm sections, instrumental, operatic, and natural. Multiple spatialization techniques are used to create an immersive and constantly changing environment.

Some of electronic sounds are synthesized using custom algorithms written by the author based on non-linear dynamics whose parameters are controlled live during the processions of the piece and other electronic sounds are synthesized using the “Recursive Granular Synthesis” (RGS) method based on the Lindenmeyer’s rewriting algorithm, known as the L-system. With this system simple structures and transformation rules are used to generate complex and formally engaging results. Both synthetic and acoustic percussions define the rhythm and energy of the piece, while the instrumental and operatic layers insinuate strong narrative and visual suggestions.