Mia Windsor is a composer of experimental music. She’s currently completing a practice-led PhD project at the University of Leeds.

On this episode of Remain Composed, Mia describes the instrument she’s created called Muta. It involves creating and recording feedback loops, created using a variety of materials. It was developed through Mia’s exploration of instrumentalizing, the process of finding musical qualities in everyday objects.

Asked if she’d like others to have a go at Muta, Mia says that while she’d like others to try her practice, they may not enjoy playing it. She says the point of her practice is that individuals create their own instruments to do what they want.

Mia also explains how she’s used pipe organs to make more experimental music.

David Önaç is a composer, pianist, director and educator. He’s on Remain Composed ahead of the premiere of his latest work for orchestra, choir and soloists. Atlantic Requiem will be performed in London on 11 October 2026.

David explains the purpose of the piece, which has been commissioned by the charity Culture& with support from Lloyds of London, the insurance company which has apologised for its historic role in insuring slave ships. The work is intended to memorialise the lost lives of enslaved Africans during the transatlantic trade of the 18th and 19th Centuries. And it aims to acknowledge the significant contribution of their descendants to transatlantic culture.

David discusses the emotional task of turning the idea for this piece into a reality, and explains why he decided to use only 10 notes throughout - 5 black and 5 white.

David describes how he balances the improvisatory nature of gospel, jazz and Caribbean influences with the structured elements of the more classical western traditions in his work.

Featured recording: This episode of Remain Composed includes a short section of Carnival from David Önaç’s Five Etudes for solo piano, originally composed as a group of four. It’s performed by the composer.

Vivek Haria is, broadly speaking, a chartered accountant by day and a composer by night. He tells Remain Composed about what overlap there is between his two fields.

Vivek tells us about the new song cycle about rivers he's written for the Swaledale Festival which was premiered there recently. He tells us how he immersed himself in the landscape and literature about rivers as part of preparing the piece.

Vivek tells us he loves collaborating with performers. He says a piece only really begins when he reaches the final double barline.

We also learn about the influence of his Jain roots on his own philosophy and music.