Beginning with a careful investigation of recordings documenting a variety of Islamic practises, such as the call to prayer – or adhaan, and the rhythmic recitations of dhikr circles, I attempted to distil the profound feeling of spiritual connection buried in these aural representations. During the month of Ramadan, I captured a soundscape of individuals breaking their fasts and communal moments of dhikr.
After determining the best way to portray the notions of oneness and spirituality, I opted to remain with traditional instruments like the ney, oud, and daf. While recordings of adhaan and dhikr were culturally significant, I realised that the simplicity and beauty inherent in instrumental compositions would allow for a more concentrated and polished expression of my conceptual framework. The Arabic phrase “786-165-545,” which translates to “Bismillah hirahman uraheem,” was crucial to my endeavour since it served as a focal point symbolising oneness and divine favour, allowing me to focus each syllable on a certain instrument.
With my selection made, I began arranging and spatializing the soundscape within the octophonic configuration, manipulating the sounds and rhythms to create a unified audio narrative. The ney’s plaintive melodies interwoven with the oud’s resonant chords, while the daf supplied a steady rhythmic basis, giving the music a sense of vibrancy. Finally, my decision to focus on instrumental compositions proved to be a resonant and transforming one, allowing me to analyse the technical aspect of the piece in a more subtle and pronounced manner.