Artists

https://www.youtube.com/watch?v=sjOmuXA7OEc

https://www.youtube.com/watch?v=HCDTpQscxi4

https://www.youtube.com/watch?v=7eouHCnT9tk

We are motivated to contribute to ECHOES by developing new work rooted in environmental awareness, while actively engaging in sustainable and collaborative artistic practices across borders.

Portfolio:

www.youtube.com/@marquiscollective

Unreleased musical work:

www.youtube.com/watch

Artist Biography:

Patricia Marchiș is a musician with a complex artistic activity, situated at the intersection of classical music and jazz. A saxophonist with a distinctive stage presence, as well as a composer for theatre music and sound design, she develops projects with a modern aesthetic, rooted in expressivity and innovation.

Patricia is the leader of the jazz fusion group Marquis Collective, with which she has performed on the stages of the most important genre festivals in Romania, as well as in numerous international contexts. She has collaborated with artists such as Samy Thiébault, Tibor Cári, Transylvania Jazz Orchestra and Big Band Gaio, exploring diverse stylistic formats ranging from modern jazz to orchestral projects.

In the field of classical music, she has performed as a soloist alongside orchestras such as the London City Philharmonic, the “Transilvania” State Philharmonic or the Oradea State Philharmonic. She has given recitals in Romania, Spain, France and Japan.

Among the prestigious festivals in her portfolio are Mittelfest (IT), Nei Suoni dei Luoghi (IT), Virtuoso a l’Escenari (SP), Osaka Expo (JP), Jazz in the Park, The Jazz Cave Festival, Gărâna Jazz Festival, Timișoara Jazz Festival, Sibiu Jazz Festival, Transilvania Jazz Festival, Classix Festival, the Johnny Răducanu International Jazz Festival, and others.

In the field of theatre music and sound design, she has created original sonic environments for various short films and art exhibitions, including collaborations with the National Theatre in Cluj.

Motivation Statement:

My artistic practice develops at the intersection of classical music, jazz and sound design, shaped by my journey as a saxophonist, composer and performer across diverse international contexts. Through my work with Marquis Collective and collaborations in both orchestral and experimental settings, I have gradually developed a deep curiosity for sound as a way of understanding the relationships between environment, culture and perception.

In recent years, I have found myself increasingly drawn to soundscape ecology - as a way of listening more attentively to the world around me. My work in theatre music and sound design has made me more aware of the subtle details within sonic environments and this sensitivity continues to influence how I approach composition.

For this project, I propose a composition centered on the contrast between natural and human-altered environments. I am interested in capturing these moments of tension and coexistence through field recordings from contrasting environments, combined with minimal electronic processing. The piece would unfold as a layered and fluid narrative, moving between presence and disruption, intimacy and distance.

Collaboration is an essential part of my practice and I am particularly motivated by transnational co-creation as a space for exchange and mutual influence. I value the possibility of bringing together different ways of listening and different environmental realities. Within the collective album, I see my contribution as a connective thread - one that emphasizes transitions and relationships between works and contributes to a shared reflection on the act of listening.

Csaba Pethő – Portfolio (Audio & Video Works)

This portfolio presents a curated selection of audio and video recordings that reflect Pethő Csaba’s artistic versatility as a guitarist, composer, and producer. The works highlight his engagement with jazz, classical and contemporary music, also his expanding activity in recording, filming, and post-production for other musicians.

Original compositions

SandCastle | Indoor Adventure

https://www.youtube.com/watch?v=ObZ7aX56IdA

SandCastle | Autumn Joy

https://www.youtube.com/watch?v=FTd6ZA86pfw

SandCastle | The Beggar’s Song

https://www.youtube.com/watch?v=pxrSAYqCJ_Q

Pethő Rebeka & Pethő Csaba Duo | Világosodás (Sunrise)

https://www.youtube.com/watch?v=p1zY1Ge13s8

Trascriptions

Sybliosis | SoundCam Classic Sessions

https://www.youtube.com/watch?v=wgtnWotXk3o&t=559s

PETHŐ REBEKA – PETHŐ CSABA DUO – Six Romanian Dances (Béla BARTÓK)

https://www.youtube.com/watch?v=7aDtqVFy0sU

Production

Óbis Kinga - Könnyek a zsebemben

https://www.youtube.com/watch?v=DoU-QIKhNsM

Recording sound, video and post production

Mussorgsky: Pictures at an Exhibition

https://www.youtube.com/watch?v=Nhns5C5TrL8&t=808s

Motivation & Artistic Concept Statement

My artistic practice is deeply rooted in an ongoing exploration of sound as both a physical phenomenon and a perceptual experience. In recent years, I have begun to study acoustics and psychoacoustics more intensively, areas which I am currently integrating into my master’s thesis at University of Arts Tirgu Mures titled “Musical Reflections on Acoustics, Electroacoustics, and Psychoacoustics.”

Collaboration plays a central role in my artistic development. I am strongly motivated by the idea of transnational co-creation, as it allows for the exchange of diverse cultural perspectives and artistic approaches. Working with musicians and artists from different backgrounds challenges my own assumptions and opens new creative directions.

The preliminary concept for my proposed composition is centered around the idea of recording a wheat field during the early morning hours, when the first sunlight touches the grain and it begins to gently rustle. This subtle, almost imperceptible sonic phenomenon—created by the interaction of light, air, and plant movement—offers a rich and poetic source material. Captured using spatial audio techniques, these recordings would preserve the depth and immersion of the natural environment.

The composition would be developed as a form of musique concrète, where the recorded material becomes the primary sonic substance. Through processes such as layering, time-stretching, filtering, and spatialization, the natural textures of the wheat field would be transformed into an evolving electroacoustic soundscape. At the same time, this material could function as a dynamic backing track for live improvisational performance, allowing for real-time interaction between the fixed medium and instrumental expression, particularly through guitar and electronic processing.

In terms of sound materials, I intend to work with field recordings from rural environments—specifically agricultural landscapes—alongside electric and classical guitar, and digital sound synthesis. The environmental recordings will serve both as a documentary element and as a basis for abstraction, creating a bridge between ecological reality and artistic interpretation. My approach is informed by my interest in acoustics, electroacoustics, and psychoacoustics, with a focus on spatial perception, micro-textures, and the threshold between audible and barely audible sound.

https://youtube.com/shorts/jDYhZ9Gl25M?si=tpGm4vfjq7d3f9Pl

https://youtu.be/opD5V6X7pcA?si=C4wGXdFQIhCYC4fU

https://youtu.be/DBBJt0M9Ft4?si=gbsVRL4Ix2f9ls8K

https://youtu.be/MfTzXjSsjK4?si=dipZZtLvBbegxRXQ

Debut album: https://open.spotify.com/album/0W6NVM4nuv9Ttp2m6QpLIS

EP: https://open.spotify.com/album/6PRRO79vBIFHeuLD4NPKbC

Spoken word duet: https://www.youtube.com/watch?v=GwW4zO0LU_Y

Spoken word album: https://open.spotify.com/album/09qAZ6lBQgUqdZZeX2urRg

Website: www.danieldeboermusic.com

zappak.bandcamp.com/album/scattering-theories-in-d

cityscapes:

soundcloud.com/user-837520834/somethinginparticular

radio signals escape

soundcloud.com/user-837520834/hertzian-rooms1

piece representative of artistic language, not commercially released:

soundcloud.com/user-837520834/g-rain-mazi

portfolio:

www.kousteridoudimitra.com/works

Artistic motivation related to soundscape ecology or sustainability

My artistic practice is rooted in listening as a relational and ecological act. I am interested in how sound reveals the interconnectedness between human, technological, and environmental systems, and how these relationships can be experienced through attentive and expanded forms of listening. Working with field recordings and material-based sound processes, I approach environments not as static landscapes but as dynamic, evolving systems shaped by energy, interaction, and imbalance. I am particularly drawn to transitional spaces: urban-natural edges, infrastructures, and hybrid ecologies, where different forces coexist and interfere. These environments reflect broader ecological conditions, including fragility, adaptation, and transformation.

Sustainability, within my practice, is not only a thematic concern but also a methodological one. I work with low-tech, DIY tools, repurposed materials, and minimal-impact recording approaches, aiming to remain sensitive to the environments I engage with. Listening becomes a form of care—an act of attention that acknowledges both visible and hidden layers of ecological presence. Through sound, I seek to create situations where audiences can encounter environments differently, not only as spaces to observe but as systems to listen to and reflect upon. My motivation in engaging with soundscape ecology lies in exploring how artistic practices can contribute to ecological awareness, fostering deeper connections between perception, environment, and responsibility.

Interest in collaborative and transnational co-creation

I am deeply interested in collaborative and transnational co-creation as an essential part of my artistic practice. I approach sound as a relational medium that emerges through interaction: between people, environments, and material systems and I see collaboration as a way to expand both the conceptual and sensory dimensions of my work. Working across different cultural and geographical contexts allows for the exchange of listening practices, perspectives, and methodologies. I am particularly interested in how diverse approaches to sound, ecology, and environment can intersect, creating layered and plural narratives within a shared artistic framework. This kind of collaboration challenges individual authorship and opens space for collective forms of composition and knowledge production.

Within the context of ECHOES, I am motivated by the opportunity to co-create within an album that reflects multiple sonic identities and ecological perspectives. I value processes that are open, adaptive, and dialogical, where ideas can evolve through exchange and mutual influence. I am also interested in how collaborative work can generate new compositional strategies, especially in relation to field recordings and environmental sound. Participating in a transnational project offers the possibility to engage with different soundscapes and local contexts, enriching the work through diversity and shared experience. I see this as an opportunity not only to contribute my own practice, but also to learn from others and collectively develop a meaningful and responsive sonic outcome.

Preliminary Concept / Materials / Contribution

My proposed composition, tentatively titled Resonant Ecologies, explores the relationship between environmental sound, material vibration, and human presence through an expanded listening practice.

The work will be based on field recordings collected from hybrid environments such as coastal areas, urban peripheries, and sites where natural and built systems intersect. These locations are of particular interest as they reveal ecological tensions, transitions, and forms of coexistence. Rather than documenting these environments, I aim to engage with them as dynamic systems shaped by movement, energy, and interaction.

In addition to environmental recordings, I will use contact microphones and DIY sensing devices to capture the internal vibrations of materials encountered on site such as metal structures, surfaces, soil, or water. These recordings will reveal micro-sonic layers that are not immediately audible, extending the perception of the environment beyond surface listening. The compositional process will involve subtle processing, feedback, and layering techniques, allowing the material to retain its presence while forming an evolving sonic structure. Sound will be treated as a relational field, where environmental recordings and material resonances interact and influence one another.

Within the collective album, this work could contribute a perspective focused on the hidden and tactile dimensions of soundscapes, highlighting how environments can be perceived not only through what is heard externally, but also through what vibrates internally. I see the piece as part of a broader dialogue between different ecological listening approaches, offering a complementary layer that connects surface soundscapes with their underlying material and energetic conditions.

Toyful Music Festival

www.youtube.com/watch (Cyprus)

2 pianos / Iro Menegou - Lydia Linardou

www.youtube.com/watch (Eleusis 2023 European Capital of Culture)

Pythia Trio (6 hands on one piano)

www.youtube.com/watch (National Museum of Modern Art)

My compositions

www.youtube.com/watch (Onassis Stegi, Athens)

www.youtube.com/watch( Open Form Festival, Copenhagen)

My artistic practice embraces open-form composition and the philosophy of “playing with music,” reflecting the constant change, uniqueness, and fragility of nature. In this work, no element is fixed—sound is treated as a living, evolving ecosystem where each moment demands attention, care, and appreciation. Through collaborative and transnational co-creation, performers from different cultures bring their local soundscapes, contributing to a shared musical reflection on adaptation, resilience, and the beauty of uncertainty.

The composition draws from environmental recordings, instruments, voice, and performative gestures, emphasizing unpredictability and the uniqueness of every sonic event. Performers interact in real time, shaping the work according to their responses to one another and to the surrounding sound world. This open, adaptive structure mirrors nature’s challenges, celebrating transformation and interconnection. As part of the collective album, the piece offers a dynamic, living soundscape that encourages attentive listening, highlights ecological awareness, and invites audiences to appreciate the fleeting, irreplaceable moments that make both music and life precious.

Solo post ambient project - improvising with sonic environment:

youtu.be/MSgOcUt5z0g

Solo post ambient album:

https://davidvinazza.bandcamp.com/album/drowning-in-valhalla

Environment Becomes Music - research paper:

drive.google.com/file/d/1nyWDBooF-jF3Nwp6Lz1i0setDDp4yD84/view

Fi!Da?Li* - experimental, music, dance performance (interdisciplinary):

youtu.be/tPs5GdGfZYo

youtu.be/PmVUIEkCG0c

Fi!Da? - experimental duo:

https://fida6.bandcamp.com/track/when-the-ship-is-sinking-violins-keep-playing

Solo 3 track single Za Tatu:

open.spotify.com/album/6IBhwOYq7v4BZDQiJzqkPU

The Bridge Trio - jazz influenced, improvisation:

www.youtube.com/watch

My name is David Vinazza, and I am currently finishing a Master’s degree in Music at NAIP (New Audiences and Innovative Practice). During the past two years, I have been researching and exploring different techniques and strategies for using field recordings in order to encourage awareness of our sonic surroundings.

During my musical education and career, I noticed how the modern way of living affects our awareness and how many sounds go unnoticed every day. Pauline Oliveros writes in her book Deep Listening that if we are too narrow in our awareness of sound, we are likely to become disconnected from our environment. I strongly agree with this idea, and I believe that encouraging awareness of everyday sounds can help us stay connected to the world we live in and to each other.

I believe my role as an artist is to find art and beauty in everyday life. As artists, we can use technology to preserve the soundscapes of our time and give a spotlight to our sonic world, bringing listening back as a central element of our lives. It is a part of our job to document sounds and raise awareness of the importance of our sonic surroundings, as well as the impact of sound pollution.

Throughout my artistic practice, I have become familiar with collaboration and the importance of being open to having my ideas challenged and influenced by other perspectives. I want to learn from other international artists in order to expand my ideas and artistic practice around environmental sound and listening. I am interested in how different cultures listen to the world around them and in the different cultural approaches to attentive listening. An important question for me is how we, as artists and listeners, can explore environmental concerns through sound and music.

A concept for a composition that I would like to explore further is treating environmental sound as an equal musical partner. As an improvisational composition, field recordings would be a central element for collaboration and improvisation. By approaching everyday sounds as equal partners in music, we can communicate this intention to the audience through a balance between environmental sounds and instruments. The piece is intentionally open for development, allowing each artist to bring their own voice and perspective to it.

Through processes of listening, mimicking, dialogue, and improvisation with environmental sounds, the boundary between music and our sonic environment begins to dissolve. The ambiguity of sound sources can be further blurred through the processing and transformation of field recordings over time.

The sound materials that interest me are field recordings from both natural and urban environments, particularly the contrast between nature and modern, human made spaces. Through this artistic practice, I want to further explore and gain new knowledge about acoustic ecology and site-specific sound environments. How does sound carry the identity of a specific place?

What I would like to contribute to the collective album is an exploration of the boundary between music and soundscape, and the question of what we consider music. My vision for the album is to position the perception of everyday sounds as a central compositional element, encouraging listeners to engage more attentively with the sonic environments that surround them.

Unreleased composition:

on.soundcloud.com/7NcqKXCFb4TfXTZ0jo

Thank you for your time and looking forward to your response.

Take care,

David Vinazza