Spotify, Apple Music, Amazon

N, for Violin and Electronics

Mixed composition, 2021

Symphony for Blue 2.0

Live Coding, 2021

Istanbul Coding Ensemble (ICE), Jerfi Aji, and Scott Wilson perform “with live coding based on machine listening data shared over network” version of “Symphony in Blue” by composer Kamran Ince. The recorded performance will be streamed in the music track of the Transformations of Musical Creativity in the 21st Century, an international conference organized by ITU MIAM (Center for Advanced Studies in Music at İstanbul Technical University), and the University of Bristol.

Inside Outside with Fulya Ucanok

Improvisation, Electroacoustic 2021

Serkan Sevilgen · Inside Outside with Fulya Uçanok

Fulya Ucanok ~ inside piano
Serkan Sevilgen ~ soundscape

Live Coding for Acoustic Objects

Live Coding, 2021

Live coding with Python, Arduino, Supercollider for old copper household objects I inherited from my grandparents

The Curtain and Beyond with Fulya Ucanok

Improvisation, 2020

Network Music Festival 2020 Performance.

Transfigured Walls

Binaural, fixed media, 2020

During the COVID-19 pandemic composers and musicians persevere with producing new works. However, since the only distribution channel is online we lost the ability to create multichannel music that we can design a spatial experience in physical venues. In this fixed media piece, I deliberately target the audience that consumes music with earphones. I used Csound’s HRTF (Head Related Transfer Function) opcodes to create a virtual binaural space that I can specify the dimensions of the room, reflection coefficients of the walls, floor, and ceiling. The listener would enjoy the 3D soundstage with moving sounds in all dimensions.

It was presented during the Share the Sound Concert which was streamed live on Facebook.

Image sonification in memoriam Ertuğrul Oğuz Fırat

Fixed media, 2020

This piece was composed in memory of the Turkish composer, painter, and poet Ertuğrul Oğuz Fırat (1923-2014). One of the composer’s paintings, Politika, is used as a material for the image sonification. The RGB (red, green, blue) channel data of each pixel in Politika was read with Python programming language. In Csound, image data is mapped to several parameters to reveal the patterns in the painting in the rhythmic texture.

It was presented during the homage concert on 10 February 2020 at ITU/MIAM Library.

Also it was presented in the exhibition section at SIIDS - Sound, Image and Interaction Design Symposium, Funchal (Portugal) - 4th September, 2020

multichannel, fixed media, 2019

Stereo render

This piece is composed for an 8-channel diffusion system in which speakers are spread through MIAM Gallery. Works for the concert are site-specific, composed for a bespoke multichannel diffusion system, making the event fall somewhere between an installation and a concert. Attendees are encouraged to move around to tailor their audio-spatial experience. The piece is consists of distinct sections that I explore different sonic textures. The sections are self-contained and don’t present a particular progression. The musical material is laid out and sufficient time is given to the listener to consume the possibilities in limited musical material. The piece was composed solely in Csound.

It was presented during the “Sonic Tales from the Crypt” concert on 26 December 2019 at ITU/MIAM Gallery.

A tele-acousmatic improvisation with Fulya Ucanok

improvisation, acousmatic, 2020

From 18 May 2020 Facebook Live Stream Concert


Fulya Uçanok and Serkan Sevilgen are a duo who is fascinated by microscopic details of sound objects and exploring their intimate and fragile sound worlds through low-level listening.

They find their roots and inspirations in early electroacoustic music, musique concrète tradition, soundscape, deep listening experiences, chance operations, free improvisation, and minimalism. Their music emphasizes the temporal nature of music, impermanence, fragility, as well as the ambiguity of silence through attentive listening to minute details.

Spectral Collage

4 layers of audio, excerpts from field recordings at Istanbul, single cutoff frequency, 23 min. (fast-forwarded)

Proof-of-concept render of a sound installation work that is supposed to be run for the duration of an exhibition. Layers of sounds from field recordings of a city/site are torn down gradually with a very steep-sloped, brick wall type filter. After a while what we hear is slow but everchanging frequencies which any audio layers can hardly be distinguishable.

Strng Wnd

Soundscape, 2019

I try to detect and record soundscapes that resemble my ideas of sound design and composition. Awareness of sonic environment and making decisions, what and how to record makes recording more like a compositional process. In this track I have removed the wind shield from Sennheiser MKH 416 shotgun microphone and exposed it to a very strong wind.

Published soundscapes

Two soundscape pieces published in the 2013 World Listening Day compilation by Sonic Field.
Sonic Field is a bilingual, interdisciplinary network around sonic arts, sound studies and aural culture.

WLD 2013 Machine
WLD 2013 Society

Video art contribution

Contributed to Conscription, Çaglar Kimyoncu’s multimedia installation by providing additional sound recordings. Conscription is funded by the Arts Council of England and produced by Filmpro ltd. 2013

Various Field Recordings

Mono, stereo and binaural field recordings over the years