Esin Gunduz had her original works performed at the Banff Centre, on So Percussion’s “Brooklyn Bound” Series, and at the National Sawdust Digital Discovery Series. Megan Kyle’s performance credits include the New York City Electroacoustic Music Festival and Chicago’s Preston Bradley Hall as well as the Saint Louis and New World Symphonies.

The duo aims to disrupt our ideas of what’s old and what’s new—our concepts of time and period. To do this, Senso di Voce takes seeming wildly disparate music—works separated by geography, centuries, and cultures—and finds surprising and inventive ways to connect these pieces. Their immersive concerts are continuous and through-composed, featuring new compositions and improvised interludes that transport audiences from one place, time, and musical style to another, as well as choreographed movement through the performance space. They introduce audiences of all ages and backgrounds to new music by weaving threads between ancient and contemporary sounds, creating passages for the listener to travel between the familiar and the unfamiliar.
                                                                              

Senso di Voce has created projects for the monumental towers within the “post-industrial cathedrals” of Silo City, a collection of repurposed grain elevators in Buffalo, New York. Using the reverb-profile of these spaces, the duo recently reimagined the project in a surround sound version for gallery spaces, transforming the sound experience by bringing another acoustic space to life within it. Their recent projects have included their “celestial” program, As above so below, designed for the acoustics of the skyward elevators of Silo City, and Ruin, a surround sound performance in which the Silo City acoustical space was recreated inside the Sugar City Gallery in Buffalo.