Interview with Ardron Hinton, discussing his life experiences and viewpoints.

Recording of Daniel Arfib's Étoiles (Album illustrés en couleurs)

Recording of José Vicente Asuar's Dans le jardin.

Drawing on women's stories handed down aurally over time, this piece uses the fundamental building blocks of language to tell the story of struggle and intolerance endured by women over centuries. This is one of Bartley's earliest pieces and it possesses the intensity and political motivation found throughout her repertoire of electroacoustic vocal compositions. Rising Tides of Generations Lost was realized at the Electronic Music Studio at McGill University in Montréal in 1985 with the Synclavier Sample-to-Disk system. It was remixed in 1993 at the Luscar Recording Studio of The Banff Centre for the Arts, with engineer Frank Lockwood. Sampled voices include those of Anne Erskine, Wende Bartley, Cathy Herd, Helen Hall, Marguerite Bartley, and Dorothy Young. The piece premired at a GEMS' concert (Group of the Electronic Music Studio) at Pollack Hall in Montréal on April 4th, 1985.

String Quartet is a computer program written in the procedural control language Pile 4. This means that the composition was not conceived as an expression of certain personal emotional states. Rather, procedures related to various musical manipulations were joined in a structure that produces the sounds heard and the hierarchy in which they exist. A relatively Small amount of material was manipulated in the program to form the entire composition. The sound synthesis technique can be considered a distortion of the Karplus-Strong plucked string algorithm. A certain conceptual unity exists between the compositional structure and the sound synthesis technique since both may be considered a means of filtering noise in time. String Quartet was realized in 1985 using a DMX-1000 Signal Processing Computer and a PDP-11/34 system.

Recording of Jonathan Berger's An Island of Tears.

Recording of Alain Besset and Valérie Gonzalez's Pour en Finir avec le Jugement de Dieu.

Recording of Biaki updating their family members on what has happened in the family while they've been traveling, and how the cousins are doing.

Around us are time bombs, latent disasters, wars and calamities - but: "From the world does not perish". The song is composed from the song of Zahra Leander and archival documents.

A recording of Juan Marcos Blanco's Caballos.

Based on the play "Vie de Galileo, Galilei" by Bertold Brech, this music synthesizes the spirit of staging performed in Havana, by the "Grupo Teatro Estudio" (Theater Group Studio) under the direction of Vicente Revvetta. The voices of the actors themselves, emitted during the preparation exercises for staging, have been used as acoustic material. Moreover, the materials obtained by electronic synthesis anological were used the realization of this work.

The piece uses as basic materials the recordings I made in Indonesia, 4 examples of the music used by street vendors. The first is an ice cream vendor who rides a bicycle with a cooler in the back. He plays a small instrument with a metal hip that looks a bit like a trumpet. This instrument does not have a hole for the fingers and the different heights are obtained by the variation of the air pressure. As far as I could judge, this instrument is unique. Street vendors typically use commonly recognized sounds and calls that easily identify the product they are selling. The second is a seller of "Arum Manis". He wears a box on his hip, hung on his shoulder and plays a small 2-string violin, which he calls "rebab" but which resembles the "Chinese er-hu". Originally a stick with a small cylindrical resonator mounted at right angles and supporting 2 strings, the bow passing between them. Original detail, the bridge consists of a small shell. The 3rd musician is also a seller of "Arum manis", the semicircular case that he uses is hanging around his neck and tied around the waist. Attached to the outside 7 …

After my first experiences in musique concrète, and even more so, when I started using the computer for music composition, I wanted to be able to compose the sound material , as I composed the structures when I wrote "notes" for instrumentalists. Our first researches, from 1976 (by means of a microprocessor that we had procured for ourselves), were done in this direction: to put the sound matter in memory and to fragment it so that it became "reflowable". The microprocessor of this era providing little computational power, it was necessary to imagine sound-efficient methods, but inexpensive in calculation - and we then formulated and exploited the method of "zero crossing". Indeed, by sharing the sound in small isolated waveforms, each having the property to start and end on the zero axis (energy equal to 0 volts, corresponding to the rest position of the speaker's diaphragm) ), it is possible to glue these shapes together in any order (so to compose from a given set of elements) without losing too much of the sound quality (spectral content) of each element.

Recording of a Jazz Lecture Series presentation by Randy Brecker on February 26, 1985 at 9:30AM at the UNT College of Music. Includes lecture and performance by Randy Brecker, trumpet, interspersed with questions from the audience.

Recording of a Jazz Lecture Series presentation by Randy Brecker on February 26, 1985 at 2:00PM at the UNT College of Music. Includes lecture and performance by Randy Brecker, trumpet, interspersed with questions from the audience.

Interview with W. W. Cunningham, where he discusses his life experiences and viewpoints.

Interview with John Oliver Brown, who discusses his life experiences and viewpoints.

The work was originally composed as part of a large musical project "Soundscape" (soundscape) for the exhibition "Music" at the Noorköping Art Museum in 1982. The exhibition occupied five galleries and included paintings from a number of artists who had been inspired by the music. Some of them started with general impressions of music, others described specific works from Mozart to Coltrane and Glass, and others have done their work by applying musical systems. Some artists like Arnold Schoenberg and the Swedish composer Lars-Gunnar Bodin are more known for their action in the musical field itself. The soundscape project, made in collaboration with Anders Blomqvist for music in each of the 5 galleries mentioned above, was decided at the outset that the music should reflect the specific character of each piece. In one of the galleries - with a very colorful atmosphere - were paintings by Lars-Gunnar Bodin. After some research, I decided for an air of his work "for Jon" that someone had inadvertently whistled near me. This air became the basis of variations by inversion, cusp, transposition, etc ... Since this gallery had a general minimalist character, I also opted for this style. Moreover, the motor and static …

One could also designate the genre of the play as a concert radio drama or a sound movie. But it has never been broadcast on the radio or in a cinema, but I have played it in several theaters with cardboard actors, which are the loudspeakers. Original idea, creation and composition Roland Cahen Text by Jacques Merienne Written and improvised speech by Stefan Kaempfer Electroacoustic creation performed at GRM studio 116 C The play is a contemporary adaptation of Jonah's book of the Bible. Here Jonas is a TV journalist / presenter who is asked to announce the end of the world. He prefers to go to a gala and flirt with the secretary who invited him. But the evening does not go quite as planned, they find themselves trapped in their own game in the middle of a ballet superficial characters agents of his destiny. He is finally being kicked out. In the early morning he finds his "little wife", this little voice of the heart, with which he dies in the empty streets. The angel catches up with him and follows an animated discussion. With Daniel Besse: Jonah Jean-Mourat: the Angel Françoise Santarnecchi: the little woman and the …

The work is a theme with variations. The theme is the graphic form of a parable and is developed in three sections in the field of heights on different types of timbres and articulations. A fourth section summarizes the whole with a stretto. This piece was made using a microprocessor 6502 by first calculating numbers representative of the heights and durations that are stored. After, this memory is emptied in real time on a digital analog converter which controls the corresponding parameters on a Sinty_AKS synthesizer.

Etaoin Shrdlu (1985) for double-bass and live electronics coauthor: Marcello Federici published by Edipan commission: Festival Musica Verticale duration: 16'30" 1st performance: Rome, Musica Verticale Festival 23/11/85 performer: Marcello Federici - double-bass

Discussion and comparison of two Mizo dialects: the northern and southern dialect. For example, "in the north we say X, and in the south we say Y." The male speaker is from the south, and the female speaker is from the north.

Recording of the group having informal conversation after a group performance by the Mizos of Tezpur in Tezpur, Assam. These songs are in the zaikhawm hla style, which is a group singing style. zai means "to sing", khawm means "together," hla means "song".

Recording of informal conversation in a family home.