“... a sound wizard! ...”
Rosie Middleton, mezzosoprano
Commissioner: Voice(less) Series - London Uk

“...Esin’s music arises miraculously from the body’s own forgotten rhythms.
Reading her score for the first time, I felt as if I had been startled by a secret and unexpected mirror.”
Nathaniel LaNasa, pianist
Commissioner: Ultrafizz, Since 1500 - NYCity Usa

“... sounds as if it is dentelle or some beautiful tapestry.”
about Lights on Inanna
Dr. Andrea Young, composer, performer
Collaborator - Montreal Ca

Esin Gunduz, PhD (she / her)

For composer, vocal performer, and improviser
Esin Gunduz,
sound originates in the body.

She explores life’s energies as visceral sensory experience and sound, building landscapes of her own recorded-voice samples to surround acoustical instrumental textures, creating breathtaking acoustic vistas.


Dr. Gunduz has been announced to be one of the Chamber Music America Classical Commissioning awardees in 2021, as a composer and the vocalist of the transformative oboe and voice duo: ︎Senso di Voce. She had her works performed at the NonClassical (UK), Banff Centre (CA), and as part of the National Sawdust Digital Discovery Festival (USA). Among the performers who have championed her work are Ensemble Linea and mandolinist Avi Avital, as well as the previous members of Talea Ensemble and the International Contemporary Ensemble.

Prominent projects include electroacoustic works based on Sumerian tablets and a piece that turns alchemical processes into sound for the NyCity-based duo: Ultrafizz. A more recent project, En-he-du-an-na-me-en (2020), is based on a text by Enheduanna 𒂗𒃶𒌌𒀭𒈾, a Sumerian high-priestess, world's oldest author writing in 2300 BCE, and was created in collaboration with mezzosoprano Rosie Middleton for her Voice(less) Commissioning Series for electronics and voice. En-he-du-an-na-me-en was programmed for Iceland Dark Music Days before the pandemic, later been premiered for Nonclassical (Jun 2021) during Waterloo Festival, had its second performance at the Iklectic Artlab (Jan 2022), its third performance as part of the Music in the Round Series, Sheffield in (Sept 2022) —all venues in England, UK. As a scholar at the Foundazione Isabelle Scelsi, Rosie Middleton performed this work a fourth time, inside the prolific composer Giacinto Scelsi’s living room, in Rome, Italy (Oct 2022). ︎Watch the excerpts from En-he-du-an-na-me-en.

Gunduz’s works for museum/art-spaces with Senso di Voce are multi-faceted. The second iteration of their sound installation, Sounding Spaces: Passage was showcased at the Frontispace Gallery of University Rochester (Feb. 2022). The duo’s unique concert performance in Sonic Impressions, an audio-visual output of their own program-curation, was developed in relation to the Renaissance Impressions exhibition at the Memorial Art Gallery and streamed in a webinar format of concert and talk (Feb. 2022). This program includes Gunduz’s latest short work Bogalele that was inspired by the throat-playing tradition of the Teke nomads in Turkey and cantu a tenòre tradition of Sardinia.

Dr. Gunduz has presented Lights on Inanna (2016-17), her initial work that was based on Sumerian tablets, under the Music in the Cult section of the Society of Biblical Literature’s (SBL) Annual Meeting in San Antonio (TX) in November of 2021. A researcher of vocal performance, Esin Gunduz has offered workshops for the Indeterminacy Consulting Group & Festival (CA/USA), CS1 Curatorial Projects (USA), and an Orchard of Pomegranates in Montréal (CA). She is an adjunct voice professor at Villa Maria College and holds a PhD in music composition from SUNY University at Buffalo. Originally from Istanbul Turkey, Dr. Gunduz currently lives in New York State, Usa.


an Artist’s Statement

“As a composer,
I concentrate on the nature of sound and its embodiment.

As humans, we respond to human-voice with a primal empathy.
An immediate kind of mirroring takes place.

We “know” the tension that is required to produce that sound.

We feel it in our own bodies.

We reflectively react to it at times:

such as raising our eyebrows when we hear voices in upper-spectra (like a boy-choir),

or clearing our throats after hearing a “scratchy” throat-sound.


Owing my predisposition to both my roots from Thrace (Trakya)
and to have spent my youth in Istanbul,

I am particularly fascinated by culture-specific
vocal practices and traditional vocal-techniques,
not only for their complex acoustical spectra,
but also for how they communicate and convey
a wide range of
such direct and human experience.

Life vibrates within those sounds.

Such vocal timbres carry information into
a singer’s attitude | psychology | type-of-being | (…)

— phrases of singing are
time-capsules of
human-life in acoustics.

I learn from these and translate them into instrumental writing;

I aim to create the directness
( immediacy and presence! )
of human-voices,

© 2019

︎Contact ︎ via this form
or email:  esingund at gmail dot com

active on:                    also:     ︎       ︎

Copyright © 2020 Esin Gunduz.
Composer | Vocal performer