“Contra-Truth” engages with the issues of complexities at resonance rate resulting from

peculiarities of regionally distinct barque violin, viola da gamba strings, and recorder wind
timbre composition. As a consequence of multifarious filtering applications of bowing and
blowing in authentic instruments, the modulation index at resonance rate is proportionately
interwoven with temporal contiguity as a means of multilayered parameters. As such, the ways
in which the formal framework is structured by means of rational relationships, also determine
the spectral output, which correspondingly affects the perceptual cohesion.

Sonic-temporal dilation of this sort functions in the piece as a combinatory medium in the sense
that it projects the peculiarities of both pitch and frequency domains The analysis evinces that
the complex and “residual” spectral components resulting from the physical quality of quasi-
circular bowing and overblowing during the course of a fingered note, is in fact the subharmonic
bandwidth and qualifies a pitch content. Correspondingly, this pitch content can be modulated
by means of physical interaction between the contact point (of the baroque bow on the string
and blowing on the recorder) and the bow and blowing speed during the course of the note and
therefore is closely related to the resonance peaks. The resonance peaks, on the other hand, are
integral in the sense that they are correlative components, which are used for designing
phonemes by projecting the principles of spectral modeling synthesis.

In the piece, every musical instrument achieves perfection by augmenting its characteristics in
baroque music with an entire legacy of physical perceptions and abilities that came about
through dealing with the material, the sonic conception, and the culture of playing and listening
to that spawned it.

The first physical contact with the instruments is therefore already preconditioned but remains
open. Although the primary characteristics of the instruments remain unchanged, the act of
playing is in fact like a sensitive organism. Gradually the instrument also begins to exist in
another manner, it is examined from new perspectives, and a stream of experience ensures that
transforms its possibilities, even creating new dimensions (sound, rhythm, body, etc.). The
variations that become part of instrumental technique through each individual discovery are
traces (some clearer than others) of the human and cultural experiences that produced them like
in the baroque music, and they "vibrate" in the act of listening as particularity, identity, and
origin; they are active sonic layers, living matter with an intelligence of its own.

Being a piece on acoustics as well as an acoustic piece, “Contra-Truth” aims to explore the
concept of “percept” and the ways in which it is contextualized in the given discourse.