The compositional-aesthetic questions with which Ataç Sezer since then, are a logical result of the complexity and diversity of these experiences. On the one hand, Sezer is pursuing a systematic, discursive examination of the modal tonal systems of the Arab world; and this is accompanied by reflection on the possibilities of microtonal and electronic music from a European perspective. On the other hand, Sezer is pursuing a systematic examination of the techniques and sounds of Ottoman-Turkish instruments such as the long-necked flute Ney or the bowed box-necked lute Kemençe; and this is accompanied by the exploration of new notation systems and playing techniques for European instruments.
The Ottoman-Turkish and European cultural areas, their artistic and compositional practices, mark the double framework for the works of Ataç Sezer. However, in terms of composition and performance practice, they represent little more than a material basis over which Sezer has the greatest knowledge and virtuosity and from which he advances to an individual musical style. The composition Peshrev Prelude for ney, electric bass and electronics from 2008 was the first to formulate this in a paradigmatic way. The traditional elements do not fall into a false synthesis or symbiosis in which one or the other appears as an exotic, picturesque addition, but rather enter into a mode of mutual reflection and penetration. In this way, Sezer formulates a critical and at the same time independent artistic-aesthetic position in the discourse on new music, which opposes the post-colonialist perspective on classical music from the Arab or Asian region that often prevails today.
Ataç Sezer's work is under the primacy of the new, literally unheard of sound. Systematically and on the basis of comprehensive compositional expertise, Sezer develops his ideas in a series of works that examine the most diverse instrumentations in terms of this dimension of sound. The recordings on the CD "Garden in Eden" bear eloquent witness to this.