Sense of Place, Space and Belonging in Ainolnaim Azizol’s Electroacoustic Soundscape Bayu Nokturnal II

Abstract Bayu Nokturnal II is an electroacoustic soundscape composition commissioned by the Borneo Ensemble in 2024, developed as a reimagining of Seed of Life 4: Rest and Shelters , a binaural fixed-media work composed in 2021. Rooted in the ecological and cultural identity of Gua Tempurung, a limestone cave in Perak, Malaysia, the piece explores how the interplay of acoustic instruments and environmental field recordings evokes a sense of place, space and belonging. Inspired by Chris Watson’s El Tren Fantasma , the work expands from fixed media into a live, spatialised dialogue with geophonic and biophonic elements. This paper positions Bayu Nokturnal II within the evolving discourse of ecocomposition, a practice shaped by environmental awareness and sonic interactivity. It draws on Matthew Burtner’s Syntax of Snow and Hildegard Westerkamp’s Fantasie for Horns II . These works foreground the role of soundscape as an active compositional agent. Bayu Nokturnal II employs an aural-feedback score using grid-cell timing, Scientific Pitch Notation and gesture-based instructions to foster real-time responsiveness to the soundscape. This strategy replaces conventional metre with listening-driven interaction. The result is a Malaysian site-specific composition contributing to global dialogues in acoustic ecology, environmental music and performative listening.