Jordan Boge, the director of this documentary, says:

"TURTLE is a short documentary about Pamela Cornejo, a first-generation Ph.D. student in Counseling Psychology. The film follows Pamela as she reflects on her immigrant family and how they influence who and where she is today."

The score creates a dreamy context by journeying in and out of various moods following Pamela's reflections. It utilizes musical meanings to amplify psychological concepts associated with immigration such as doubt, suspension, and conclusion as well as timbres with geographical connections.

Narrative plays an essential cognitive role in Metamorphosis. It is an instance of extreme but smooth transformations, bridging truly distanced musical and extra-musical domains. At its micro level, Metamorphosis employs simultaneous transformations of virtually every feature of sound, cascading a chain of lucid and symbolically-related synthetic sections. Some of these transformations linearly convert, for instance, the sound of breathing to musical tones; tones to the sound of a person running; the sound of amphibians to humans; water drops to percussive kicks; kicks to pure pitch intervals; and stacking pure intervals to instrumental timbres. All that said, Metamorphosis is ultimately a metaphor for memory, life, and infinity.

Shadow in this game refers to the Jungian meaning of the word, which is a symbol of an unconscious aspect of the psyche. The whole premise of the game is to dissect the shadow from the conscious self metaphorically. Once the shadow wanders away from the conscious self, it enters its world of transition where it can develop, change, and explore itself, but not necessarily with the conscious self’s awareness or approval. The character of the crafted instrument is intended to resonate and amplify the idea of the elusiveness of the shadow, giving Destructive Shadow homogeneity between its performance and narrative facets. Please note that sound spatialization is not recognizable in this video. In a live performance, the specialization is responsive to the hand movements.

Trans Cultural Diffusion generates a unified rhythmic and harmonic space in which transitioning from a European to a Persian tuning system happens organically. Unifying harmony and rhythm is achieved by overlapping sustained tones to produce spontaneous but accurately measured beats that fall into the human perception of rhythm (<20 cycles per second). These beats become the rhythmic element that corresponds to the tempo of various musical segments. Cultural fusion is achieved by performing accurate nuances of intonations of various tones in each tuning system. It is difficult for performers trained in European tuning systems to produce Persian tones without additional training. A simple solution is real-time tuning equipment devised specifically for this composition. The performers are able to play any microtone without having to rely on aural experience. It is then possible to create this cultural fusion that is based on intonation accurately.

The metallic sound of gong and its spectrum is the driving force behind the orchestral narrative and timbral exchanges in Five Years. The strings emerge out of the harmonics and in-harmonics of the spectrum of a softly stroked large gong and bring about timbral modulations resolving into chromatic almglocken sounds that the main theme of the piece is composed of. Similar to gong, almglocken's sound is percussive and metallic, but unlike gong, it is pitched and much smaller in size. These types of spectral transformations become a dynamic but very fluid and organic background on which various excruciating melodic and rhythmic materials phase in and out. Five Years creates a very colorful and remote sounding sonic atmosphere.