Recording of Joris De Laet's Khene Dimensioned II, composition for tape magnetic in which was used a material sound both concrete and electronic. The sounds recorded come from the "KHAEN", a mouth organ from Asia, especially Laos. The instrument is composed of 16 bamboo pipes. The sounds they produce are rich in harmonics and produce 16 different sounds. The composer had 6 instruments. No two are pitched the same. One of these Khaens was used as the basis for the whole work. The tone of his 16 sounds have been transformed into Herz. From this frequency data, a data matrix and served for the composition of numerical and material ratios for the composition of algorithms and for the control of an analog synthesizer by computer. The dimensions of the intervals of this popular Asian instrument dominate throughout the work for the realization of musical intentions. All the frequencies that are part of the electronic sound components are the same as the basic khaen scale. In this way, dense sound spectra are formed in relation to the internal harmony of the acoustic instrument. There are four parts. Each development is specific and in parametric relation with the intervals of the khaen.

Recording of Jean-Baptiste Barriere's Chreode I. The title Chreode I serves here as a metaphor for a systematic and intersecting investigation of material and organization. At the same time, it is a generic title for a set of computer works, of which "Chreode I" is the first element. Although the materials are very elaborate, the attention in this piece is more specifically on the organization. This research on musical processes, their fields of action and their limits, was conceived as a strategy for approaching the musical territory, as it is renewed by the possibilities offered by the computer. A very general destination of this project was therefore to experience different types of organizations, and at a higher level to learn how to structure them in time and formally. The compositional structures as well as the scores were developed in the FORMES programming environment with the help of Pierre COINTE and Yves POTARD. The sound materials have been chosen to allow some type of control over the timbre, focused on a small number of very compositionally relevant parameters. Thus the work on the timbre is essentially based on the compression and the expansion of the formants or the spectral envelopes, this …

A composition for two tapes: one 1/4 inch four track quadrophonic tape and a stereo tape. for two didgeridoos, a bull-roarer plus live electretonics tree with waving speakers on 4 meter long fishing rods plus magnesium lights. Voice: narrator Stephen Dunstan, Australia. Sounds of nature: three actor imitating sea, winds and seagulls. All instruments played by Kurre Nykopp, Finland. Duration 12.45 min. Premiere at the Helsinki Biennale in 1983. This piece has several later versions realized f.g. with saxophones, litophones an tape. All rights owned by authors. E-mail: agaps@nettilinja.fi Programme note: Ò How did living on the Earth start? From which does the time start? Hod did Kosmos got it«s birth? The Big Bull was slaugtered, the Giant was killed, the Chaos was cut, the Mussel was split, Male and Female were separated. This piece is a synthesized fiction of the Genesis story tought to us. It is a story from the very beginning and a story fron mankind«s future. The outer form has three elements: - a four channel tape with it«s Genesis story and the narrator - the tree for good and bad wisdom (live-electronics) - maybe the oldest known instruments of mankind. the didgeroos and the bull-roarer …

Recording of Denis Lorrain's Les Portes du Sombre Dis. Conceptually, this piece uses a single elementary sound with a symmetrical dynamic envelope. This elementary sound is activated in different duration scales: from a few minutes to a few milliseconds. In exploiting this range of durations, and controlling varied time densities of different sets of elementary sounds, one can cover a domain ranging from long pure sonorities to isolated punctual events, and encompassing more or less rough sounding noises as well as smooth continuous textures. The chronological evolution of the characteristics of the sets of elementary sounds (density, duration, timbre, intensity, pitch, spatialization) is distributed among three asynchronous parallel global cycles: two of minimal contrast, and one of maximal. This cyclical form enforces the freedom of choosing a starting/ending point for each performance of the piece; it also makes it possible, the elementary sound being symmetrical in time, to state "Les Portes du Sombre Dis" in one direction or the other. Computer programs were used in some stages of the compositional processes, to assist in the manipulation of multidimensional graphs and to find solutions to the problem of building cycles of controlled global contrast in such structures. After completion of this …

"Incontro con Rama" was created for the first time in 1982 after a work of absolute complementarity between the indications, the aspirations of Luigi Ceccarelli and the technical practice of Renzo Brocculi: a splendid creature generated in a single week of close engagement with two trombones, a tuba and a complex electronic device for delaying and accumulating sounds, built by the author to do this work. The writing of this work moves on two main tracks: on the one hand the preference to the timbric dimension and to the spectral microvariations, on the other the almost complete absence of melody, in the usual sense of the term. The reference to the rhythm of breathing, as an alternative to the heart rhythm (which music usually favors), however, is the only supporting base of all the architecture on which I conceived this piece. Certainly these that we have mentioned are rules that postpone more to oriental conceptions of sound that to those of our music: in "Incontro con Rama" we can clearly recognize the "OM", the fundamental sound that generates the universe according to Indian mythology. Indeed we can say that certainly "Incontro con Rama" not other than the "OM" in its …

Jean-Baptiste Barrière: "Chréode " is a borrowed term from morphology and biology (from the Greek "cre" it is necessary," and "Odos" path: Necessary path). It is used here as a metaphor for a systematic and intersecting investigation of the material and the organization. It is about my time of a generic title for a set of computer works, of which "Chréode I " is the first element. Although the materials are very worked, the attention in this piece carries more specialty on the organization. "Chréode i " is the first step towards a grammar of processes that I would like to attempt to elaborate. This research on musical processes, their fields of action and their limits, has been thought as a strategy of approach to the musical territory, as it is found revolutionary by the possibilities offered by the computer. A very general destination for this project was experimenting with different types of organizations, and a higher level of learning about the time structures formally. The compositional structures as well as partitions have been elaborated in the programming environment forms with the help of Pierre Coine and Yves Knob. The material sound has been chosen to allow a certain type …

This piece for magnetic tape and string quintet with double bass takes as a reference a fairly well-known instrumental practice, the Scordatura, that is to say the game with an unusual agreement. However, this idea is here used more figuratively, since at no time the musician does not tune his instrument but at any time it is proposed to him the transformation of an object-stamp chosen for its roughness, given in its raw form and presiding at the origin of this work. From then on, this very broad thought guided me to transpose a music made of big sound blocks evolving rhythmically in registers, in densities, in power. A personal gestural metric allowed me to continually carve and order these amalgams in an attitude of sculptor-electroacoustician. Here the magnetic tape is written as the score and the score as the tape. This constant coming and going must give, precisely, the dissociable and inseparable spirit at the same time, to this playable in several versions. The same developments, modifications or permanent evolutions with filtering, repetitions, changes of lighting registers, amputations or multiplications were implemented at the level of the band as well as at the level of the instrumental writing. Thus, …

Sequence Symbols exemplifies the composer's exploration of the concept of modulation spectra considered as inharmonic "harmonizations" or chords. The gradual transformation of basic note groups related by common tones provides the underlying pitch structure. Each group so derived in turn furnishes the intervals that are treated as generating dyads for the inharmonic chord-spectra. Chord-spectra can be enlarged by the simultaneous sounding of the chord with its transposition at a desired interval. In this way a variety of tension and release patterns are created by associating a specific interval with various kinds of chord spectra. Common frequency components between the chord-spectra provide a basis for hierarchical structuring of the materials generated by each note group and its possible interval transpositions. The general wavelike form of the piece (at times dramatic, ironic or static) corresponds to memoents of prominence by a note group or interval or their transpositions. On another level, the wavelike shape of the piece can be attributed to the interweaving of sections and their interruption of and by each other. The conception of the work varies from symphonic scale to inteimate chamber-music proportions - a formal combination that seems rather well-suited to music conceived in terms of digital sound …

Sound recording of classic Texas songs performed by Francis Edward (F. E.) Abernethy. This recording was produced to accompany the first edition of Abernethy's book Singin' Texas, Texas Folklore Society publication number ExB 18. Some of the songs are complete but others are only partially performed. Between songs are short spoken portions explaining the lyrics and history of the music. Some of the songs are supported and woven together by a narrative while others are only partially performed, leaving the rest of the song to be described and summarized by Abernethy. The songs "Cuba" and "Great God, Attend" are sung by the congregation at Harris Chapel near Marshall, Texas for their 100th Anniversary in 1967. The song "Give the World a Smile" comes from the Stamps-Baxter Music Company archive. And the song "The Great Speckled Bird" is performed by the East Texas Strings Ensemble.

Sound recording of classic Texas songs performed by Francis Edward (F. E.) Abernethy. This recording was produced to accompany the first edition of Abernethy's book Singin' Texas, Texas Folklore Society publication number ExB 18. Some of the songs are complete but others are only partially performed. Between songs are short spoken portions explaining the lyrics and history of the music. Some of the songs are supported and woven together by a narrative while others are only partially performed, leaving the rest of the song to be described and summarized by Abernethy.