His Music
Journalist Blair Dedrick described İnce’s music as
characterized . . . by its ability to pinpoint the sonorous strains present in the jagged dissonance of elements such as a smooth cello yearning suddenly broken by an incongruent spatter of drum beats.
His music has been described as post-minimalist, that is, it makes use of near repetition, tonal language, but avoiding traditional tonal functionality, and influence of world music. Indeed, his Concerto for Orchestra, Turkish Instruments and Voices uses an actual Turkish ensemble mixed with Western instruments.
His musical palette tends toward large-scale works, mainly for orchestra or ensemble; he has also composed several smaller works for either solo instrument ( In Memoriam: 8/17/99 for piano ) or solo instrument and piano (Lines for clarinet and piano).
Although several of his works display this sudden movement between slow chord movements and the nattering of percussion and / or instruments, such as Flight Box (2001) or Hammer Music (1990), other pieces use a more consistent texture, such as the energetic F E S T for New Music Ensemble and Orchestra (1998) or the subdued Curve (1998).
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