During my PhD candidacy exams in 2019, I was given a task to use a 26-second clip to produce two sets of 25 sound objects and a sonic composition within a week. This étude is the resulting composition: a 3-minute experiment that borrows from the sound object collection and delves into the sonic, phonetic, semantic, and timbral qualities of the source material (excerpted from Waiting for Godot, Act II, Part II, Caedmon Records, 1956).
