Composing a piece for a new instrument: the case of the Octo – a work in progress
Session
Modern Music and Audio Production
Description
This article intends to describe the compositional approach I have been taking in order to write a chamber music piece for the octo – a new instrument from the electric guitar family, invented by Liburn Jupoli and crafted by Ari Lehtela. The compositional process took an experimental approach that entailed the creation of strategies to compose music for an instrument that is not yet mass produced and which I, as the composer, have never seen in real life and to which not much music has been composed yet, aside from the music composed by its own inventor. The knowledge I gathered about the instrument is based on conversations with its inventor, his own book about the instrument, and recordings he has provided. As I started writing for the instrument, I begun gathering my own reflections about the organological characteristics of the instrument and their impact in the compositional process. This is a work in progress, as later on I will conduct laboratorial work with the instrument and be able to test the music I have created for it.
Keywords:
New instrument, Liburn Jupolli, Octo instrument, Contemporary composition
Proceedings Editor
Edmond Hajrizi
ISBN
978-9951-982-41-2
Location
UBT Lipjan, Kosovo
Start Date
25-10-2025 9:00 AM
End Date
26-10-2025 6:00 PM
DOI
10.33107/ubt-ic.2025.277
Recommended Citation
Masri, Yanis El, "Composing a piece for a new instrument: the case of the Octo – a work in progress" (2025). UBT International Conference. 4.
https://knowledgecenter.ubt-uni.net/conference/2025UBTIC/MMDPM/4
Composing a piece for a new instrument: the case of the Octo – a work in progress
UBT Lipjan, Kosovo
This article intends to describe the compositional approach I have been taking in order to write a chamber music piece for the octo – a new instrument from the electric guitar family, invented by Liburn Jupoli and crafted by Ari Lehtela. The compositional process took an experimental approach that entailed the creation of strategies to compose music for an instrument that is not yet mass produced and which I, as the composer, have never seen in real life and to which not much music has been composed yet, aside from the music composed by its own inventor. The knowledge I gathered about the instrument is based on conversations with its inventor, his own book about the instrument, and recordings he has provided. As I started writing for the instrument, I begun gathering my own reflections about the organological characteristics of the instrument and their impact in the compositional process. This is a work in progress, as later on I will conduct laboratorial work with the instrument and be able to test the music I have created for it.