Manolis Ekmektsoglou

Contemporary, computational, film and ballet music composer

Welcome to my personal website

Here, you can learn more about my artistic world and stay up to date on my compositional activity. Do not hesitate to take a look inside!


The starting point is my desire for life – so to make, create something with my hands and my brain

Iannis Xenakis


Musical interests

How form can evolve under a nowadays psychological framework? Is it more difficult to compose long or short pieces and is there any morality in it that serves as a proof of the composer’s skills? My musical interests are focused on a personal composition method that started from my late integrated masters years in Thessaloniki and which eventually was the subject of my PhD research in York. It used to serve as a preliminary stage for an instrumental composition; however, since 2017 the “Selective Subtraction of tone and rhythmic material” composition technique serves as a tool to create but mostly to sculpt the tone and rhythmic material of the instruments that will interwoven with the electronics. As its name signifies it is based on a selection process that gives a certain amount of material. This material forms the basis for an evolutionary process where finally, all these elements are combined in order to give the final piece. Under the scope of electronics it incorporates computational methods like Csound software, Ableton Live and MaxMasp (Sound Synthesis private patch library) in the direction of finding new ways of pattern development and thus evolution of the form.

For examples of the Selective Subtraction of tone and rhythmic material” composition technique enter here:

PhD thesis:





Manolis Ekmektsoglou studied composition in the Aristotle University of Thessaloniki, Greece with Dimitri Papageorgiou and in the University of York (PhD) with Thomas Simaku. He also spend a year in Hannover studying acoustic and electronic music (Hochschule für Musik, Theater und Medien Hannover), with Professors Ming Tsao, Gordon Williamson and Joachim Heintz. He is currently Assistant Professor of Acoustic and Acousmatic composition in the Technical University of Istanbul, Department of Sonic Arts, Center for advanced study in Music (M.I.A.M.).

Manolis participated in the “Labor Beethoven 2017-2020” project, funded and organized by the Berlin Academy of the Arts. The project comprised participants from Basel, Tel-Aviv and Thessaloniki. This intensive 4-year period included commissions and performances from various ensembles in Germany and Switzerland and culminated in a final performance that took place in Berlin in 12-13/04/2020. For more info enter here:, and for the final output: In Love…, for voice, ensemble and mixed media, Circus Story: Taming the animals, for alto saxophone, percussion and fixed media

His pieces have been performed in Greece (DissonArt ensemble, New Hellenic Quartet, Off Borders Festival for electronic music in Thessaloniki, Music in Motion festival for dance and music, Athens, OutHear New Music Week), Germany (Neues Vocalsolisten Stuttgart, Earth, Sky, Space festival, Hitzacker Musiktage 2018), Italy (Soundiff project), Hong Kong (AMGA ensemble), Spain (ensemble Regards Mixtur festival 2016), Austria (NAMES ensemble, Synaesthesis ensemble, Crossroads festival), Iran (International Electronic Music Festival, Reza Korourian Awards 2017), the UK (Resonance FM 104.4, Kinetic nights festival, Manchester, Andersson – Gallois – De Saram trio, Diotima Quartet, Psappha ensemble, Resonance FM, RNM Call 2022), Turkey (MIAM 20 years department anniversary Gala, TTI Conference 2021), France (Viberation#2 soundscape project, Réseau inDREAM Network), the USA (Versipel New Music festival, Louisiana, MISE-EN festival, New York) and Argentina (Atemporánea festival 2022).


Am 6. Juni 2020 startet „Labor Beethoven 2020" als virtuelles Festival mit einer virtuellen Ausstellung „Labor 1802–2020" online unter Damit präsentiert die Akademie der Künste ein hinter verschlossenen Türen fertig produziertes Programm mit über 10 Uraufführungen, einer Klanginstallation (Werner Cee), einem Musiktheater (Novoflot) und einem Laborraum rund um das Thema des Experimentierens.

Sara Gouzi, Sopran

Ensemble Adapter:
Kristjana Helgadóttir, Flöte
Ingólfur Vilhjálmsson, Klarinette
Gunnhildur Einarsdóttir, Harfe
Matthias Engler, Schlagzeug

nicht öffentliche Aufführung

Kamera: Susanne Elgeti, Martin Wolff
Schnitt: Susanne Elgeti

© Susanne Elgeti

Bildnachweis Titelseite und Schlusseiten: Eva Gentner: Zement auf Jute (Detail)

Alle im Rahmen des Labors Beethoven entstandenen Werke sind Kompositionsaufträge der Akademie der Künste, Berlin, gefördert durch Mittel der Beauftragten der Bundesregierung für Kultur und Medien.