The latter is certainly more representative of the work that Stylianos Dimou and his colleagues are engaged in at the experimental studio at the Grieg Academy. Here, a composer community is being built that explores the outer limits of what is possible with sound.

- There’s often a misconception around elitism in composition and the arts in general, says Dimou.

- What I advocate for is not the negative implications that often pervade contemporary academia when discussing elitism. On the contrary, I support a model rooted in excellence, intellectual depth, and cultural responsibility. By healthy elitism, I mean an environment that cultivates and protects high-level artistic thinking — one that values knowledge, criticality, and the integrity of artistic work.

For Dimou, retaining a healthy and mediated elitist profile of the composer is essential. The role of the composer should not be diluted — it must remain grounded in responsibility, insight, and excellence.

- Artistic creation is not a populist endeavor; it requires informed vision, critical distance, and the courage to shape culture rather than follow it.

- The true artist is someone who peers into the unknown and creates pathways for others to follow. Being a composer — and an artist more broadly — is not a fashionable choice or a fleeting trend. It is a lifelong commitment that demands responsibility, discipline, and deep dedication. It’s a way of being, not a career move.

Dimou is currently in Greece with students as part of an Erasmus program. Working with students, performers and people is important to his work. 

- I am interested in using composition and sound in different ways—to engage the audiences, to meet people, to explore entirely new pathways of collaboration.

Stylianos illustrates this with one of his projects. He meets people and encourages them to move around a room with their phones. In this way, they generate experimental soundscapes.

- What happens when you are in a room and can use sound differently? We explore how sound moves, what constitutes complex sound, and how sounds that shift in space can create an entirely new soundscape. It’s about interacting and creating new experiences, Dimou explains.

Dimou works extensively on electronic music, and the work he and his colleagues carry out in the experimental studio (Studio A) and on stage often involves advanced technology — from sophisticated algorithms to complex loudspeaker arrays. But he is quick to emphasize that his artistic foundation remains firmly rooted in acoustic sound.

- The archetype of the contemporary composer today is someone who embraces all available means of expression, he explains. Technology is one of them — an important one — but I am by no means dedicated exclusively to electroacoustic music. Creativity embraces everything — but it must do so with responsibility, rigor, and knowledge.

Dimou works with electroacoustic sound because he have a strong belief in acoustic sound.

- My work with electronics always has a goal: it must reflect the human. In my artistic research, I am using the knowledge and sounds of acoustic instruments and performers and then transforming them into something new.

Stylianos explains that he has worked on bridging the gap between the acoustic and the electroacoustic.

- I have tried to make instruments sound like electronics, and voices resemble instrumental textures, says Dimou. 

He emphasizes that electroacoustic creativity must not forget its roots in tradition. 

- One often encounters a lack of literacy when it comes to electroacoustic music and music technology in general. At the Grieg Academy, our work is deeply rooted in tradition — we emphasize music history, music theory and analysis, and a thorough understanding of the acoustic realm. This foundation is essential; it allows us to push boundaries with purpose. We’re not discarding the past but rather building upon it to discover new ways of expression that remain connected to the music that has always moved people.

- I use technology in ways that blur the boundaries between the acoustic and the electroacoustic. This shift has significant implications for performers. While traditional training prepares musicians for the concert stage, electroacoustic practice redefines that space, transforming how we think about sound, space, and acoustic hybridity. I work with computers and interactive systems as digital musicians, and I fully embrace them as performers in their own right.

Dimou works with computers and sound but is also passionate about working with students, people, and spaces. It is important for him that more people recognize the opportunities available when choosing to study composition at the Grieg Academy.

Dimou is not alone; he is part of a strong community of composers at the Grieg Academy. Professor Daniel Biró leads the experimental studio established at the institute. For years, he has been at the forefront of the international composer community. He teaches, composes, and his works are performed at the most important contemporary music venues worldwide.

Dimou highlights that Biró has successfully established a strong community around the composition of contemporary and electroacoustic music.

- We have this studio, this community—with Biró at the helm. It is truly unique. It is something we can offer our students. The environment, expertise, and engagement are all in place. And we are excited to expand and invest even more in this direction when a new building for the Grieg Academy is completed.

Would you like to peek inside the experimental studio at the Grieg Academy? Follow Biró and Dimou’s work through the videos below:

https://stylianosdimou.com/music

https://www.youtube.com/channel/UC-P9DrcSmA7uC-8Sb2n_CXA