Georgia Kalodiki
Composer · Electroacoustic Composer · Educator
"Composing from the sounds of places, creatures and memory, and transforming what the environment says."
Georgia Kalodiki (also credited as Georgia Kalodikis) (b. Athens, 1975) is a Greek composer working across instrumental, acousmatic and mixed-media music. She holds a PhD in composition from Goldsmiths, University of London, and a second PhD in electroacoustic composition from the Ionian University of Corfu, where she studied with Theodore Lotis. She is a selected artist of Phantomnesis, the international call from Cambiata Arts, and her work appears in the compilation Phantomnesis: Residues and Recalls.
She began in Athens with classical guitar, advanced theory and composition. She earned a diploma in classical guitar and composition with first prize from the Athens Music Society (2004) and a degree in Music Science and Art from the University of Macedonia, specialising in composition. She completed her Master's and PhD at Goldsmiths. Her 2007 doctoral portfolio comprises seven works, written between 2001 and 2005 for a wide range of instrumental combinations, with an analytical commentary on how each piece is constructed. She has studied composition with Yannis Ioannidis, Joseph Papadatos and Alexandros Kalogeras, along with music for cinema and mixed media. She attended lectures and masterclasses with Alvin Lucier, Christian Wolff, Rebecca Saunders, Brian Ferneyhough and Theodoros Antoniou.
HHer catalogue spans chamber and orchestral works and acousmatic pieces. Her recent electroacoustic music draws on field recordings, bioacoustics and instrumental sound. Seashore (2016) received an honourable distinction at the Matera 2016 Festival. Space Dream (2023) is a two-channel acousmatic work. Mixed Signals (2026) was presented at the CIME-ICEM General Assembly in Zurich. Her music is published by Subways Records, HELMCA and CIME.
Her works have been performed in Greece and abroad, at the Goethe Institute, Athens Music Hall, the Janáček conservatory in the Czech Republic, the Old Operating Theatre of London, the Tsai Performance Center at Boston University and Alte Schmiede in Vienna. Performers include Kreutzer Quartet, Soozvuk Ensemble, Kamerata Orchestra of Greece, Orchestra of Colours, Greek Ensemble of Modern Music, ALEA and Red Note Ensemble. Her commissions come from Boston University, the Kapodistrian University of Athens, Orchestra of Colours, Acanthes 2007, ASON, Dissonart Ensemble and Espace du Son.
She has composed music for four silent films for the 2010–2012 Greek Silent Cinema Festivals, presented by the Kakogianni Foundation: Safety Last, The Kid, Aelita: Queen of Mars and Underworld. She has also written for theatre, including The Waking of the Dead (2011) and Gaslight (2012). She was a member of the Greek Composers Union and a columnist for the music periodical Polytonon. She teaches music at the Korinthian Music High School.
Highlights
Phantomnesis selected artist, Cambiata Arts; Featured in the compilation Phantomnesis: Residues and Recalls (2026)
Two doctorates: Goldsmiths (composition) and Ionian University (electroacoustic composition)
Honourable distinction, Matera 2016 Festival (Seashore)
First prize, Athens Music Society (2004)
Commissions from Boston University, Kapodistrian University of Athens, Acanthes 2007, ASON and others
Music for four silent films, Greek Silent Cinema Festivals (2010–2012)
Selected works
Nature Instrumentale (2022), for instruments and recorded sound
Space Dream (2023), for two-channel fixed media
Mixed Signals (2026), for stereo fixed media
Seashore (2016), acousmatic
Balance, for brass quintet
Atoma, for two violins and piano
Echo and Variations, for piano, cello and percussion
Metavasis, for seven instrumentalists
Envelope, for timpani, percussion and symphony orchestra
Nature Instrumentale
Phantomnesis selected work
"Nature is imitated, distorted and remembered until it becomes a landscape that exists only in sound."
Georgia Kalodiki is one of the composers selected for Phantomnesis, an international call from Cambiata Arts for contemporary music, experimental composition and heritage-rooted works. His piece Nature Instrumentale is published in the compilation Phantomnesis: Residues and Recalls. The call sought pieces that explore the forgotten, the near-forgotten and the reimagined. It welcomed works that bring neglected musical systems, regional practices, extinct gestures or overlooked aesthetic pathways into today's listening.
An international jury of six professional composers, performers and researchers reviewed each submission. Their own careers embody the premise of the call. Each has spent years bringing overlooked musical systems, regional practices and reimagined traditions into contemporary listening. The jurors work in Toronto, Hannover, Skopje, Bangkok and Tehran, and across Vienna, Graz and Klagenfurt in Austria. Their practices range from electroacoustic composition and open-source technology to somatic voice and live electronics, traditional Thai instruments, artistic research and jazz scholarship. They considered each work for its engagement with forgotten or near-forgotten material, its compositional richness and its artistic conviction. The five works in the compilation emerged from that process, and their composers are also invited to join the Cambiata Arts roster.
Nature Instrumentale is a composing process of building an acoustic bridge between instruments and nature. Sounds of nature recorded in the Greek wasteland of Troizina, including wind, animals, birds and water, are combined with phonemes of the human voice. They are mixed with experimental material from instrumental sounds: flute, violin, cello, classical guitar, recorder and piano. These sounds are constantly transformed into new forms of expression through a mimetic process that distorts patterns. The aim is to evoke memories and create sound images in an imaginary landscape.
Kalodiki's early work builds structure from ideas drawn from science and nature, such as echo, atoms and natural selection. Her recent work moves toward sound ecology. Mixed Signals looks at how rising noise pollution disrupts animal communication, and Space Dream searches for meaning in form through reflections of time and space. A paper on interactive performance systems examines how electroacoustic sound identities form through performers' interaction with noisy spectra.