The musical idea of ​​this piece - apart from the ventral expression, direct and inexplicable - is the multiplication of sounds; each played sound produces a multitude of other sounds; contrapuntal, barely audible, fireworks, etc. As far as the technical aspect is concerned, the structure of the IT processes is part of the idea of ​​controlling a sound computer by something more imminent and more subtle than the computer keyboard keys, than potentiometers or a mouse. . The sound of the piano is picked up by microphones, processed by a signal processor (the DSP16X of the Swiss Center of Computer Music, programmed by Nicolas Sordet) and reinjected by means of loudspeakers. We then try to obtain a mix, between the acoustic sound of the piano and the sound produced by the computer, as balanced as possible, the speakers being placed around the piano accordingly. This is how the piano seems sometimes multiplied sometimes transformed into an instrument with new sounds. The process consists of analyzing zero crossings of the order form and reacting to the sound thus analyzed according to pre-established rules. Different sets of rules thus generate the different sections of the part. The piano has established macrostructures, but …

Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recital presented at the UNT College of Music Concert Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

The National Museum of the Pacific War presents an oral interview with Fred Hassenplug. Hassenplug was born 5 May 1921 in Melton, Pennsylvania. He graduated from the Naval Academy in June, 1944. His first assignment was aboard the USS O-7 (SS-68). Then on 29 January 1945 he was ordered to report on board the USS Pintado (SS-387) at Pearl Harbor. He served on the boat for six months during which time it was on two combat patrols. Hassenplug recalls the experience of picking up crew members of a downed B-29 off the coast of Japan. [The fairwater from the Pintado is on display at The National Museum of the Pacific War]

Aeotearoa is the original Maori name for "the country of the long white cloud". The singing of these unique birds was recorded in New Zealand, then transferred to a digital recording and processed at the EMS of the University of Texas at Austin. 1) The Kokako is native to New Zealand and normally lives in the rain forest of the coast. His song perhaps evokes the oboe d'amour. It consists of a series of motifs, unique by the bird. Here the composer was particularly struck by the motif that ends with a rising quintile and has used it a lot in this movement. These motifs are sung here and there, sometimes with variations of rhythm and arrangement of notes, but always followed by a pause as if, perhaps Kokako was waiting for an answer. These long breaks determined the shape of this movement. After a while the bird gets an answer, maybe a little different from what he expected. Kokako is one of the endangered species. Thanks to the careful protection of the New Zealand government, it seems that he can be saved. 2) The bell bird lives mostly in New Zealand. At the first meeting, it may seem like …

Twelve months of electronic music by Gunner Moller Pedersen. And Lydar is a concept, an imaginary unity. Theoretically, we can define a year of sound as the distance that the sound travels over a year: 60 x 60 x 24 x 365 x 0.34KM = 10 722 240 KM. That's about 28 times the distance between the Earth and the Moon, but less than the light or other electronic waves that would do in 35.74 seconds. Sound is physically associated with Earth and Humanity, but its oscillations of the Universe, and it may be an explanation of what, through the medium of music we can feel the universal relationships that are otherwise hidden from our intellectual faculties. The ancient myth of "the music of the spheres" appears, like many other myths, to have a current basis in reality, and with electronic music we have the means that allow us to penetrate more deeply into the universe. In electronic music the universal oscillations are transformed and combined so that we can perceive them in the form of sounds. At the same time in a purely physical way, electronic music brings a spatial dimension to musical effects, and the concept of time …

Recital presented at the NTSU College of Music Recital Hall.

Images (composed in 1986) is based on the results of research into the perception of rhythm. For example, distortion of a composite rhythm at the beginning of the piece occurs because of unavoidable inaccuracies in the synchronization between performers. Yet another distortion occurs at the end of the piece when the performers are required to play with the tape in a rhythm having a period longer than the upper perceptible limit of synchronization, approximately 1.8 seconds. The soprano does not sing any texts, but rather creates timbres from phonemes. The tape part, computer synthesized at CCRMA, Stanford University, in 1986, requires that the performers follow it precisely in order to achieve a close dialog with it. Among other timbres, the tape uses simulations (images) of each of the live instruments. The tape canonically mimics the performers' rhythms, sometimes mechanically, sometimes with human-like inaccuracy. Computer-assisted composition was used most extensively in the middle sections. Pitches and rhythms were selected for the instruments and the tape by a program from lists which evolved according to a predetermined formal plan. The composition of this work was made possible by a grant from the U.S.-Spanish Joint Committee for Cultural and Educational Cooperation. Thanks to …

"... no, it's not a joke, Sir. It's not a joke as it's not cinematic music from a sinister movie. It's my imperfect tribute to the perfect composer who was always capable of seeing things as they are: neither funny nor tragic, or if you prefer, funny and tragic at the same time. It is my tribute to his wisdom which - yes, I must admit - is difficult to attain. I always come back to Mozart when this trivial dialectic is too apparent in my life. This time I did the same. It helped me. It made me understand that when everything falls apart, there is always Kyrie eleison left. You are not serious, Sir, are you? You are not seriously serious? I like Mozart. I do like Mozart. And he was not. No, it's not a joke. It's not cinematic music either. It is a piece of my music, it's a piece of his music. And... don't be too serious; it ain't gonna work, Sir. It ain't gonna work..." Excerpts from an unwritten letter Farewell Variations on a Theme by Mozart was composed at the Center for Computer Research in Music and Acoustics, Stanford University, and was awarded …

This piece, similar to Matrechka, the nest of russian dolls from which the title originates, takes in the form of an unveiling, a journey where reality, of a certain form, gives place to another reality. It uses the theme, dear to surrealists, that art should never mistaken for the object it represents; thus, in a painting entitled L'air et la chanson (The tune and the song), René Magritte writes, under what seems to be: Ceci n'est pas une pipe (This is not a pipe). Thus waves, breaths, even music originate from elsewhere; they are presented in unnatural forms. From an tumultuous exterior and chaos, we gradually progresses towards a helpless and anxious interior. The sound objects progressively adopt new and unheard-of forms, and resemble less and less the real objects from which they arise. The piece is in seven sections: Chaos, Gris acier, Outremer, Terre de Sienne brûlée, Bleu de Cobalt, Pourpre, Terre d'Ombre. Matrechka was realised between 1984 and 1986 at the studio of Université de Montréal and at the composer's studio from sound material created for six holoscultures of Georges Dyens. The work was premiered on May 1st, 1986 at the Université du Québec à Trois-Rivières (UQTR). Matrechka …

This piece was composed for three instruments and a live computer electronics system that includes a DMX-1000 Signal Processing Computer,and Transfer Processor (designed by Jo Scherpenisse), a PDP-11/34 computer, a PDP-11/23 computer and other equipment at the Institute of Sonology in the Netherlands. In this piece, the PDP-11/23 computer controls a Transfer-Processor and the PDP-11/34 computer controls a DMX-1000. The main program for the PDP-11/23 was written in FORTRAN and for the PDP-11/34 in PASCAL. The Transfer-Processor handles 256K memory where the sound of instruments, sampled live from the stage via the A/D converter, is stored. The Transfer-Processor deals with these sampled and stored instrumental sounds in memory and manages to produce sound via D/A converters. It also samples and produces sound at the same time. On the DMX-1000, three real-time computer sound synthesis programs written in micro-code, are running. In two of them, the instrumental sounds from the stage are sampled via A/D converters and their pitch and amplitude control some parameters for the real-time computer sound synthesis. During the performance, the synchronization (timing adjustment) between players and a live computer electronics system is realized by controlling two PDP-11 computers at two terminals in the concert hall. This piece …

The National Museum of the Pacific War presents a monologue by Albert Montague. Montague enlisted in the Navy in 1941. He shares his story while at the Submarine Base in Pearl Harbor, where he was stationed during the attack on 7 December 1941. After the initial attack he worked with a base diving buoy to rescue the servicemen aboard the capsized USS Oklahoma (BB-37). They assisted many of the survivors of the damaged battleships. He shares his observations of the damage to the ships and the island overall. He completed signal school at the base and served as Signalman 3rd Class. He was later transferred to the USS Stingray (SS-186), and served throughout the Pacific and at the Aleutians. They traveled to Huizhou, China to lay mines in the harbor. They continued on to the Solomon Islands where he describes an attack on their sub by a US Marine bomber. Montague provides details of their numerous war patrols, the attacks they made on various Japanese fleets and consequent attacks made upon their sub. He was discharged in December of 1946.

Extraordinary system of understanding and classification analogical, concrete and figured of the universe, the tao • sme allows an acousmatic writing based on the materials, the energies, the transformations. Cyclic succession of five elements, natural forces, destroying each other, TAO causes mutations, substitutions of symbols, concrete indices because there is interdependence between them. It is the regulator of the alternation. The following comments, written in a rather long post-publication period, do not reflect the "author's intentions" which are not of importance, but an organization of meaning-for-me, noticed today, long after the moment of music-pleasure. FIRE, second element 1986 Pierre Philippot Action This coin tells a story. It is a narration, the second stage of knowledge, with often metaphorical characters that evolve and intertwine according to the two sides, apparently opposite, of the same substances: inside / outside, matter / artifice, Reality / Symbol, with variations of "listening points" (framing) For example, the (external) breath of the fire and the (internal) breath of the man, the small natural explosions (matter) and their synthetic imitation (artifice) with the big explosions (zoom) of the fireworks, which can also be metaphor of war contemplated as a show to the applause of each camp, through …

Chamber Orchestra and Symphony Orchestra concert performed at the North Texas State University Concert Hall.

The composition uses the traditional structure of theme and variations in extended form and therefore could have also been called "Variations on a Children's Dance". It may be divided into four parts. 1) introduction of a part of the transformed theme 2) transformed variations on the theme and its variations 3) the theme 4) variations on the theme The theme (3) is a little Hungarian gipsy children's dance. I composed, realized and stored it and the variations on this theme (4) on analogue tape in 1983. The sound is produced by 24 analogue and 16 digital oscillators with the help of my own music program ILI (Interactive List Interpreter). After I built up a software communication system between different signal processing programs (Makrostikon), and after Paul Pignon`s Giant Fourier Transform program was ready to be used, I started to work on the piece in 1986. The new softwares allowed me to to continue work on the original material {3, 4). To start with, I digitized the theme and its variations (3, 4) made in 1983, and stored them in the VAX computer system of EMS, Stockholm. The working procedure afterwords included analysis, resynthesis, transformation and mixing. The underlying structure of …

Recording of Serena Tamborini's Per cieli e piani. The original idea was suggested by the experimental wish of demonstrating that a multiform utilization of few elements could create a definite form. Starting from a series of harmonic transposed relation, which could be stressed or implied, used in every level of the work, I have created a complex tissue of relations that represents the final result. T.S. Eliot in the poem "The Four Quartets" explains, both in the title and in the context, the analogy between poetry and musical composition. Besides, Eliot wrote in 1943, in "The Music of Poetry”: ".... I think that a poet can learn a lot studying music… I am sure that the sense of rhythm and of the structure are the musical features that most strictly affect a poet… I think that it is possible for a poet to work in a system which is parallel to that of the musical composer..." From a strictly poetical point of view, the Four Quartets are built on a contrast between the vision of time, like a plain continuous development, and the concept of meta-historical being, peculiar to our civilization: Man is placed in a temporal flow, fed by …

Riverrun creates a sound environment in which stasis and flux, solidity and movement co-exist in a dynamic balance. The corresponding metaphor is that of a river, always moving yet seemingly permanent. From the smallest rivulet to the fullest force of its mass, a river is formed from a collection of countless droplets and sources. So too with the sound in this composition which bases itself on the smallest possible 'unit' of sound in order to create larger textures and masses. The title is the first word in James Joyce's Finnegan's Wake. Riverrun is entirely realized with the method of sound production known as granular synthesis. With this method small units or 'grains' of sound are produced, usually with very high densities (100-2000 grains/sec), with each grain having a separately defined frequency and duration. When the grains all have similar parameters, the result is a pitched and amplitude modulated sound, but when random variation is allowed in a parameter, a broad-band noise component is introduced. All sounds in this piece were generated with real-time synthesis by the DMX-1000 Digital Signal Processor, up to a maximum density of 2375 grains/second. However, in many cases, lesser densities were also used since often the …

WITH LOVE, 1986, a fantasy for live cello and decorated cello cases, in memory of Myrtle Hollins Adelberg, by Vivian Adelberg Rudow, won FIRST PRIZE in the 14th International Electroacoustic Music Competition, Bourges,1986, program division. It won with straight ten's. Rudow was the first woman to win a first prize in the Program division of the Bourges competition and the first American woman to win any first prize. This work was composed for live cello and stereo tape. For the first performance, January 1986, Paula Skolnick-Virizlay, cellist at the Baltimore Museum of Art, two separate tracks were transmitted to two separate speakers, one inside decorated cello case "Electronic Mom", the other inside decorated cello case"Electronic Woman". Amalie Rothschild, Baltimore artist, created the cello cases. The sounds coming from the different speakers represented the feelings of that specific woman. All the sounds from "Unmarried, spirited, flamboyant, "ELECTRONIC WOMAN" were electronically reproduced by the composer. The sounds from "ELECTRONIC MOM" were spoken thoughts from 23 people in interviews about their moms and moms sharing their thoughts about being mothers, original music composed for the work, plus fragments of earlier works by Ms. Rudow. The cellist sat between the two ladies and the …