General Information

Institutional Information: Devlet Konservatuvarı, Müzik Bölümü, Composition And Maestro Art Department
WoS Research Areas: Arts & Humanities (Ahci), Arts & Humanities, Music
Scopus Research Areas: General Arts and Humanities, Music
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Publication

10

Publication (Scopus)

2

Thesis Advisory

2

Open Access

2
UN Sustainable Development Goals
Biography

Sadık Uğraş Durmuş was born in Manisa on June 15, 1978. Between 1991 and 1995, he studied flute with Halil Ekseriyet and piano with Nergis Şakirzade at the Izmir Anatolian Fine Arts High School. Between 1995 and 2000, he studied composition with Elhan Bakihanov at the Faculty of Music and Performing Arts at Bilkent University on a full scholarship. In 2000, Durmuş was accepted to the Composition Department at the Rotterdam Conservatory (CODARTS). He studied composition with Peter Jan Wagemans and Klaas de Vries, and continued his electronic music studies with René Uilenhoet. He graduated in 2004 and was subsequently accepted into the graduate program in Composition at the Amsterdam Conservatory. At this institution, he continued his composition studies with Theo Loevendie. After graduating in 2006, Durmuş returned to Türkiye and was accepted into the Proficiency in Art program in the Composition Department of Bilkent University's Faculty of Music and Performing Arts, graduating in 2010. His acoustic and electronic music works have been performed in numerous countries by distinguished ensembles such as the Asko Ensemble, the Nieuw Ensemble, and the Insomnio Ensemble. In 2006, he won first prize in the Henriette Bosmans composition competition organized by the Netherlands Composers' Union.


Durmuş frequently incorporates elements of makam music in his compositions, frequently placing Turkish musical instruments at the center of his works, and continues to work on the concept of "hybridity in music." While on the one hand he continues his studies on including makam elements more in our polyphonic music with different textures and techniques, on the other hand he compares these phenomena on a scientific basis by building bridges between the concepts of "makam, mode and tonality" with makam and modal inspired solfege pieces written with aksak "irregular" measures covering a wide area in our traditional music.