"Litanéa" is an anagram of Electroacoustic Litanies. An exaggerated desire for possession of articulated sound material (down to the microscopic level) is not without the risk of developing a rational, even scientific, mind. In music, this exaggeration leads to a state of mind that may dry up in his desire for absolute possession of the material. A certain part of the periodicity must be left to the music (which does not belong to the composer) otherwise the sound can not exist. Litanies are of all times and all countries, and if they have been a form of religious expression calming the mind, creating a self-hypnotism beneficial on the psychological level, it has become clear to apply this musical form to the new technology of electroacoustic music. What is the point of these phonemic and vocal sounds? Probably first the rhythm of words (this pseudo-periodic rhythm that we find in all music) in cycles, like the planets in their regular races in the universe, then the stamped value of these words ( the timbre that makes the man for the musician). Make me hear your voice and I will know who you are, or rather who you are not (in the …

Recording of Jean-François Minjard's Petites Histoires Noires.

Dedicated to Hélène Berton Sound Production based on texts from Marie Uguay Voices (by appearance order): Marthe Turgeon, Jean-Pierre Matte, Marie-Claude Trépanier, Gilles Laforce. The reading of the used texts suggest the creation of "poetic characters" that are so many views, words, interpretations stemming from the poetry. These caracters, which are four in number, were confided to many different voices: actor or radio-speaker, female or male, natural or transformed, alone or multiplied. In addition to this radio-style uses of the voice, are the electroacoustic ones by the use of interpretation choirs where the narrators echo the many-sided meaning of the poetry. The tittle was choosen in reference of an hospital room and also of this place, represented by the white colour-which included all the others-located between the birth and the death, maybe the ones of Marie Uguay (who was prematuraly dead in 1981 at the age of twenty-five), where all the virtualities, all the possibles are permitted. La Chambre Blanche was realised in 1985-86 at my own studio and at the studio of University of Montréal. This creation was possible following a grant from the Explorations program of the Canada Council. The texts of Marie Uguay come from the anthologies …

This composition is built on the axiom that at the basis of the musical invention there are not only the sounds of tempered height and harmonic timbre but also the complex sounds, and especially those constituted by inharmonic spectra. The spectral complexity is the reference characteristic on which all the relationships of internal relationship to this piece are constructed, granting a clear preference, even on a purely aesthetic level, to the most harsh and dissonant multifonical sounds. The overall phonic result is thus maintained in a medium high density threshold, in an area where the difference between harmonic spectra and inharmonic spectra is ambiguous, while the harmonic relations in the superposition of different timbres is simplified to the maximum to allow a clear perception of the timbric dough.

Recording of Jacky Schreiber's La Paz de Los Mundos in Memoriam Orson Welles.

"Shiluvim" was composed for the choir "Ankor" and commanded by their leader, A. Meroz. The work is conceived on two levels of combinations: 1. That of electronic sounds and a live performance of a children's choir. 2. The combination of two chords, the minor and G major, while a seventh chord in E-flat mixes with them. The text is composed of syllables that help bridge the gap between the children's voices and the sounds on the tape. Work done at the Studio of the Hebrew University.

"One day, the other" work composed in 1986 in the electroacoustic music studio of CNR Amiens is a series of paintings passing like dreams, melting musical and anecdotal sounds.

The concept of "And Then She Said" evolved while I was working on the music for the production of "Medea-Plays" conceived and directed by Ed Isser at the Stanford Drama department. Ed had the ingenious idea to use four narrators, backstage, each reciting a different version of the Medea story in a different language (Greek, Latin, French, or German), while four actors on the center stage spoke in English. The rich musical possibilities that this idea offered attracted me immediately. With Ed's permission, I recorded the four narrators in the four languages. They spoke the text just as in the play, but I also included some variations such as having them whisper the text, or sing it on certain specified pitches. I then processed those recordings with a Lexicon digital reverberator, and combined them with some of the computer-generated sounds I had used for the original Medea score. The actress does not play the role of Medea; instead I chose to juxtapose the Greek myth and an opposite idea: the Judeo-Christian symbolism of child sacrifice as the ultimate religious commitment, as in the stories of Isaac and Jesus. The story that I adapted for this piece is that of Hanna …

This piece consists of connection of the "unit" of sounds. "Unit" has 18 minutes each and all. 12 patterns of the "Unit" have the original arrangement of sound-image, time-structure, reverberation, auditory localization, and arrangement of the series of time by the random operation (Monte Carlo simulation) or the structure used long tone only. The connection of the "Unit" was operated by the 3 kinds of random-numbers. (Uniformly random number sequence). There are 2 kinds of the water-tone. One is the sampled sound that was rotated and modulated of its waveform by digital sample. The elements of this sound were used from the recorded natural river sounds; sample late is 33 KHz. The other is the synthesized sound by FM tone generator. This isn't a natural sound. The group of the connection of the "Unit" by sampled sounds come on the group of the same connection of the "Unit" by FM synthesized sounds. The computer was used as the controller of these "Unit's", Aleatonic compose.

"Acufeni" are auditory phenomena: hearing buzzings or hisses that are not outside but inside ear. Briefly: one cannot stop these sounds anyway. So, nearly all the sounds in thie piece are long, dark, and static. A "pedal" bass tone goes from beginning to end; throughout the 10 minutes, it raises its pitch very slightly from E-flat to A-flat (approximately 1/2 tone each two minutes). Either sounds make different episodes; sometimes, these episodes are based upon contrasts. More frequently upon repetition. How to listen to: darkness (or closed eyes); calm; not searching for anything in the music, but quietly waiting for it, aware that it could also never come.

“Repulse" was originally to be the band part of a chamber orchestra and tape piece. The two parts (instrumental and electroacoustic) moved away from each other more and more and each needed its own space of development, hence the title. The sound structure of the piece has been computer-generated in several ways, one of the most characteristic of which is the application of the discrete Fourier transformation from the time domain to the frequency domain, which has resulted in obtaining from sounds very banal at first, some sounds quite original.

Recording of Peter Beyls' Arena.

"Ellipse" is a music designed for a mime. The musical structure follows exactly the scenario proposed by the mime, while trying to integrate as much as possible to the movements performed on stage. The sound material is very small. All the music was built from two synthetic sounds programmed on a Yamaha DX 7 synthesizer and breathing sounds, sampled by a PPG synthesizer. Compositionally, the work is designed to establish a single formal unit. The development is very progressive and always attached to the same theme - that of the beginning, which, after all the transformations undergone, returns to the end to complete the trajectory of the ellipse. Formally, the music has three major parts defined according to the action expressed by the mime: - The first part presents the basic motif, whose envelope marked by the change of the pitch, becomes clear through the progressive widening of the duration of the sound. - In the second part, the breath that was present from the beginning as a component of the timbre becomes an independent element. The melodic motifs undergo harmonic modulations and are transformed into timbres by rhythmic accelerations. - In the third part the thematic elements assume dramatic …

"Inori" was commissioned by the Nordic Institute for National Concerts on request by the Dutch/Icelandic cembalo player Thora Johanseed. The composition hardly deals with the dualism between the cembalo and the digital synth. The first being close to rigid in terms of timbre while the second symbolizes the opposite. Consequently, the basic lines of the piece deals with the transformation of the DX-7 from being an "instrument like" instrument (using the very typical DX-7 harp sound) and gradually transform into the classical FM-instrument (bell-sound, inharmonic spectra, etc.). This is in conjunction with the relation in shape, gesture and go on between cembalo/DX-7 forms that are the main characteristics of the piece. Structures were composed with computer aid, using some of my own software for the generation of structures. Structures were registered and edited using "professional performer" for the Apple Macintosh and the piece was finally done using "professional composer".

Recording of John Celona's Pacific Rims.

Recording of Ton Bruynèl's "Kolom".

L'Inizio is based on the "Big Bang" theory, on the beginning of the Universe, its expansion, the beginning of life (flute) till the appearing of man on the Earth (percussion sounds on the tape). The time scala used in the work does not correspond to the real time scala in order not to sacrifice the musical sense to the scientific reality.

Sonatu(h)r (1986) belongs to a more vast musical work (of a composition class type), designed for magnetic tape, piano and an intimate, non spectacular practice of sounds. Sonatu(h)r is short for Sonant, Sonata, Nature, Ur (the universal basis of culture) and Uhr (time, hour). Thus, the musical discourse is formed by the display of archetypal elements defining various musical cultures of the planet, or in other words essential rhythmical sounds of musical modes (the very basis of music), isolated from their cultural background, evincing the idea of gravitation centre as a universal, primary, initial aspect of music (sounds gravitating around a permanent C centre which is, at the same time, in the grave register and the fundamental tone of the other sounds displayed as resonance harmonical tones). Also present in the rhythmical archetypal plane is the iambic pulse which corresponds to the universal cardiac and respiratory beat (of all biologically superior beings). These archetypes, these foundations of planetary musical cultures, appear as natural occurrences, as far as timbre is concerned, in the form of cricket chirps, the music this edging between a natural and a cultural state. The work has a cyclic form (in the hypostasis of an endless column) …

To start, an order from the poet: it was a huge blow of heart. Say more? The beauty of the images of the text, the human sensibility of the poet, the restraint of the words and the tone of the voice, to imagine, to express, to make feel the passage to death and its reflection on us, the living. The music? At the service of the poem, in its traditional role of highlighting images and deep meaning, emotional support. After a first work of analysis and restructuring of the text by silence, comes that of digging the matter and to give it shape and meaning, from images-subjects of the words. The form? From the kaleidoscope game with the memory, and the choice of the game sequence as support 'smooth' to the fragmentation of time and meaning that we encounter in the text. Meaning? Adhere to the text and be forgotten...

In this work, the sound material has been worked in such a way that the live soundtrack and the tape are merged into the sound result and so that there are always new "exchanges" between the two partners.

The composition comprises of two sections: In the first, the quest begins. Tension is built by the use of glissandos and timbric glides that converge and diverge from certain pitches never resting for long. The quest or searching builds up until its inevitable conclusion, finding, and in the rythmic aftermath the very simple timbric and pitch material to be developed in the second section is presented. The second section develops the rhythmic pulsations. They mix and interfere with each other in progressively more complex patterns until the remembrance of the quest returns quietly. This material takes hold of the composition without entreily displacing the pulsating theme and both conclude turning the remembrance into reality. All sound materials are originally created patches for a CZ101 synth. The 8 step envelopes are used in 4 oscillator patches to the precise glissandi that comprise much of the material. The sounds were orchestrated in 12 parts which are the 12 stereo tracks later recorded. All the materials were arranged and sequenced from a Commodore 64 computer using Dr. T Keyboard Controlled Sequencer without tape sync.

It moves..., It moves not... is concerned with rates of change. The initial solo shakuhachi section opens with a ‘model’ structure which is continuously transformed to reveal the potential for change within the original form and a certain inherent resistance to this process. The tape part, realised at the Birmingham University Electroacoustic Music Studio, aims to reinforce or contradict the types of movement in the shakuhachi part, whilst retaining a degree of independence. Much of the source material for the tape is derived from the sound of another Japanese instrument - the shamisen. It moves..., It moves not... was commissioned in 1986 by EMAS with funds provided by the Greater London Arts Association. In addition to analogue source sounds the tape part uses synthetic material, realised in Music-11 at the electronic music studio of Nottingham University.

Recording of Alexander Mihalič's Composition pour Piano et Bande.

This composition is music for a ballet, made for the The National Ballet of Iceland and was first performed in November 1986 in Reykjavík. Amalgam is an alloy of mercury. Practically all metals will form alloys of amalgams with mercury, with the notable exception of iron. Amalgams are used as dental materials and as electrodes in various industrial and laboratory electrolytic processes. The ballet was made for six dancers, dressed in gray tight clothes with a golden stripe on the back walking, standing, and dancing on a narrow, strong light beams