Audio cassette from The Black Academy of Arts and Letters recorded during an arts council meeting held on September 2nd, 1987. The audio on the tape is generally intelligible but overall covers summer activities and events that took place around Labor Day.

Audio reel from the Steven Fromholz Papers recorded Steve Fromholz's Love Songs at Wire Recordings.

The title of the composition is taken from a line by Cicero, "toto pectorum tremens" ("the whole breast trembling"). The main musical ideas in this piece are all related to the act of trembling as a response to some basic emotional state such as anticipation, fear, panic, exhaustion, etc. In order to expand the timbral palette of the pieced material, I have incorporated into the composition synthetic, unpitched sounds such as wind, breathing, and large, struck sheets of metal. During the course of the work the Bach choral melody "Was bist du doch, o Seele, so betrubet" appears. The harmonisation is mine and the choral setting is intentionally left incomplete. This composition was realised at CCRMA under an "artist-in-residence" gnat from the Rockefeller Foundation. The composer would like to thank Bill Schottstaedt for the use of his FM instrument, which was used to generate most of the sounds in this piece.

This is the result of an exploration of writing in space, in this case for the speakers placed in an arc forming a sound screen of 150 'to 220' aperture. This piece is also the result of an exploration of electroacoustic writing. 6 movements the structure: 1. Opening, solatonic less than a minute. 2. Around rain, or shudder of a more neumatic writing. 3. Duo where the bottom engulfs the soloists to merge into the fourth movement. 4. Explosions, tears falling in tessitura. 5. Heart of music for percussion and synthetic choir 6. Coda, rain, oblivion ...

When asked to compose a piece for an all-Samuel Beckett concert in Los Angeles (including works by Cage, Dodge and Gnazzo), I determined not to act a text of the renowned existentialist writer but rather to sample his voice and manipulate the recording to formulate the substance of the music. Upon learning that Mr. Beckett does not permit his voice to be taped under any circumstances, I proceeded to record the lobby of his apartment building in Paris, the open-air Metro stop across the street, a sound poets' dinner later the same evening and two young girls watching a mime act at the plaza near the Centre Pompidou. Added to this were the bells of Notre-Dame Cathedral, the crying of a precocious baby, a sound sculpture, some extended-technique electric guitar sounds and a selection of sonic bodily functions. The result is an impressionistic cyclical narrative sound-portrait, touching on various aspects of Samuel Beckett's life. For a full description, please refer to "Pâte de Pas de Voix" in Perspectives of New Music, volume 26/s (Summer 1988). The treatment of ambient sounds was performed in the Synclavier studio of Henry Kaiser in Oakland, California. Most of the sounds originally were recorded by …

Storm-song, as the title suggests, is concerned with two very different forms of musical material: 'storm' - tempestuous, dramatic and sometimes violent music with a strong sense of forward movement and goal orientation; and 'song' - a more lyrical, melodic aspect suggesting stasis and rest. These two ideas are developed through opposing musical means. For example, 'storm' is characterised in the tape part mainly by noise-based sounds, whereas 'song' uses more pitched material. Similarly, in the piano part, panchromatic 'storm' music is contrasted with much more modal writing for 'song'. Although the contrast between these two ideas is central to the work, they are seldom heard in isolation; rather, a dialogue is established in which elements of both types of material take part, each drifting in and out of the dominant role, this relationship itself being mirrored by the interplay between tape and piano. Storm-song was composed during the spring and summer of 1987 in the Electroacoustic Music Studios of the University of Birmingham, England, and was commissioned by Philip Mead with funds from Northern Arts. It was awarded a Mention in the 15e Concours de Musique Electroacoustique de Bourges, 1988, and in the same year was selected for the …

"Credo Epochula" was composed with basic elements that are computer-generated percussion, spoken voices produced electronically and naturally. With the exception of some brief notes by Joyce Cary, the text is original.

Arghanum (Gk. organon), arabic name for the byzantine organ. according to Ibn Khurdädhbih, writing in the 9th. c., it had bellows of skin and iron, and the word "arghanum" was interpreted as meaning 1000 voices. Arghanum IV uses a technique based on remembrances, mostly achieved by extracting materials from earlier compositions by lanza. Arghanum IV takes materials from the vocal pieces Penetrations VII and Ekphonesis V [written for and recorded commercially by Meg Sheppard]. The work also uses sounds taken from the percussion pieces Sensors I and Sensors V. Arghanum IV also includes instrumental, industrial and human sonic events rescued via sampling from the recent past. The tape part was realised at the SHELAN studios. Some digital sound processing was done with a Synclavier Digital Synthesizer, at the EMS, McGill University.

Pranâ (breath of life) Where are you from? What are you doing here? Pranâ is a piece that describes the process of arriving on earth. The temporal organization of this coin is managed by the number of gold. The majority of the sound material was obtained by sound recording with microphone. Sampling was the main source of material transformation.

In El Infinito - in his presentation actuel - consists of four variations without theme extracted as lunar stones from a trip to the infinite musical possibilities offered by musical techology. Infinite microtonal, infinite timbres, infinite rhythms, nuances, ornaments, ... Each of these variations explores the immanent expressiveness of this material. In this regard, there is no structural calculation, but an intuition, an improvisation guided by the same material when revealing its expressive potentialities. The form of this work is also infinite, since variations can be added or subtracted without affecting its identity. Currently there are four variations completed but I am working on others. The idea is that each presentation of this work is different according to the variations that are chosen and their ordering.

The electroacoustic composition "The Ballad about Wood" on fragments of Béla Bartokos' viola concerto was premiered at the Electronic Radio and Television Studio in Budapest in collaboration with engineers Peter Janik and Jan Backstuber. It is based on two elementary sound structures: the structure of the wood and the structure of the polystyrene. These structures are treated analogically, like the fragments borrowed from Bartok. The contrasts and affinities of these structures that seek to achieve unity are the bases on which Bazli built the dynamic form of this composition.

The composition was based on frequencies calculated on a computer, which are intentionally beyond the system of tempered tuning. From these frequencies, simple sound objects of various character were formed on a synthesizer. By mixing them, a number of more complex sound objects were formed. A choice from this series of objects and a montage of them resulted in the final form of composition consisting of ten parts connected with one another. I made the composition under the guidance of Mr. Rudolf Růžička.

The prelude combines electronic 'droplets' with points of sound from the piano to evoke a kind of glitter which floats above shifting and swooping gestures. Meanwhile, the instruments compete for who plays the note D most beautifully. The main body of the piece is driven by an urgent pulsing beat and the ensemble superimposes a sometimes imitative, sometimes contradictory interplay. The energy increases with a percussive assault which finally detonates leaving a kind of musical debris in the form of a looping jazz-like sequence. After a short respite the pulsing re-emerges and builds to a loud climax. Mystery and Revelation was commissioned by the New Chamber Players with funds from Northern Arts and choreographed by Trish Winter for Tandem Dance.

Tragoidia 1) A dramatic or literary work depicting a protagonist engaged in a morally significal struggle ending in ruin or profound disappointment. 2) 2) Any dramatic, disastrous event. Komoidia : We now and now enter the region of a big guy who eats pies and does not lie in the sun but always tells the truth without shades. With his mephitic breath he sings for night watchmen who intrepidly become character traits as they watch him introduce the players. There are buzzards, there are children, there are musics, always accompanied by their mother who works at the borderline for the mentally accelerated. A magical disarray fills all space with its space, where Haydn melodies metamorphize into exotic modes as Dionysus rejoices in Bacchanalian rumpus. All is well.

This short piece begins by launching a number of musical ideas, almost at once, at the listener. These elements (single short notes separated in time; soft sustained tones or chords; rapid flourishes whose contours are more readily perceived than the individual pitches that make them up; aggressive crash-like and ratchet-like gestures) are not so much "themes" which "develop" as sound-objects which continually reappear in varied guises and are juxtaposed/superimposed in different ways. As the work evolves, an initial impression of complexity and tension, produced by the near-simultaneous presentation of several elements, sorts itself out and resolves toward simplicity of texture. Textural polarities established in the piece are reinforced by choice of timbre. The middle section, for example, focuses on a few simple, obviously "electronic" timbres; this both complements its static, hocketing texture, and throws the surrounding sections (whose timbres sometimes approach the complexity of acoustic instruments) into relief. The title was chosen to suggest an intended quality of the composition: a sense of goal-directed motion, of "projecting or impelling forward." Projectile was composed in spring/summer 1987 and premiered at New England Conservatory in October 1987. It was included on a compact disk recording released at the 1989 International Computer Music …

Recording of Alain Louvier's Qu'est devenu ce bel œil?.

Studio of realization : - studio EGREM Havana (Cuba) - studio ICAIC Havana (Cuba) The work is dedicated to peace and Desarmament for development. A liturgical piece in the primitive language of the nature.

I dedicated this piece to my American friends as an expression of thanks for their hospitality during my wonderful stay in the Lehigh Valley in Pennsylvania. The work consists of a few short musical images conveying a carefree atmosphere. Contained in it is a quotation from Chopin's Polonaise as well as a phrase alluding to Polish folk music - a reference to those inhabitants of the Valley who are descendants of Polish immigrants. It was not my intention to compose program music. The piece is rather a musical impression, a joke, inspired by the landscape and the enjoyable time I have had with my American friends.

The fifth season, metamorphosis of music. It is the season written by man for man, the useless after the useful. Sometimes an imitation of nature and the changes imposed on it, caricature. From birth to death, from love to oblivion, it is destiny that makes a story, but not history. The fifth season is the eventuality, a stage, a possible continuation of the "Four Seasons" frozen cycle of the past, pardon ... of the present.

The play was performed at GRM studios, Radio France, in 1987. This is an illustration of Paul Eluard's poem "The Phoenix.” The music, produced from the voice of the mezzo-soprano Anne Gilbert, follows the different situations suggested by the poem, in a sort of semantic game where the meaning will be lost and found by producing a narrative musical and episodic form evoking the shape that follows. As its title suggests, the play is made up of small moments that follow each other, while the text frames the overall form of this polysemic diversity. "Microrreflexiones" won the 2nd Prize of Electroacoustic Music at Program of the International Competition of Bourges, 1988.

Canticum (1987) was composed at the Electronic Music Studio A of Stony Brook University. It uses exclusively analog techniques of sound manipulation, based on the spoken word as compositional material. The text consists of a fragment of the Psalm 34, in Latin. In this work the technical virtuosity, and the sudden alternation of different textures allows the dialog tension-resolution, that even in the end of the piece never seems to arrive to a final conclusion.

Cricket Voice is a musical exploration of a cricket, whose song I recorded in the stillness of a Mexican desert region called the "Zone of Silence". The quiet of the desert allowed for such acoustic clarity that this cricket's night song-sung coincidentally very near my microphone-became the ideal "sound object" for this tape composition. Slowed down, it sounds like the heartbeat of the desert, in its original speed it sings of the stars. The quiet of the desert also encouraged soundmaking. The percussive sounds in Cricket Voice were created by "playing" on desert plants: on the spikes of various cacti, on dried up roots and palm leaves, and by exploring the resonances in the ruins of an old water reservoir. Cricket Voice was completed with the financial assistance of the Canada Council. The composition is dedicated to Norbert Ruebsaat, who wrote: It's hard to be a night in the desert without the crickets. You make it with stars. You make it with the skin of the desert night. You stitch those two together sky and earth. You find it with your cricket voice.

Of course, this Chiaroscuro is one of shadows and light, of opacity and transparency of sound, of the incertitude between one and the other. However, beyond this, it is the ambiguity, the hesitation between spoken and suggested, between face and mask (warning : a sound may hide another), between manifest and latent, enactment and illusion. "Trompe-l'oreille" music. As in much of my work, certain sound elements come from earlier pieces and are developed anew here. I like the fact that the discourse is continued, completed. Besides - and in homage to the composers of the Montréal concert organization "Les Evénements du neuf" (1978-89): José Evangelista, Denis Gougeon, John Rea and in particular to the memory of Claude Vivier - I gave in to musical larceny (with the unwary complicity of its victims) which, I hope, creates an iridescence here and there, a volontary enigmatic contrivance. Mutation of the musical instruments : mobility, relief, colors among the shadows...

Recording of Cornelius Tazelaar's Zum Neissen Engel.