Sound recording of Partners for Livable Places (Partners for Livable Communities) lecture with keynote speaker, Robert H. McNulty, founder, and president. Side A: audio cuts off mid-sentence. Side B: continued from side A - Robert McNulty lecture.

Sound recording of Eunice Nelson speaking to Cross Timbers Genealogical Society, Monday, May 4, 1992. Side B: Speaker unknown. Writing on tape suggests it is Edw. Able, Jr., MPMA - 10/18/92; audio ends during the question and answer session.

Sound recording of Partners for Liveable Places Workshop: Archives (Partners for Livable Communities) lecture with keynote speaker, Robert H. McNulty, founder, and president. Lecture about what archives are and what their responsibilities to the community are; lecture does not start at the beginning. Side A: cuts off mid-lecture. Side B: lecture continued from side A. .

JAC interview of Richard Rorty discussing social constructionism in relation to writing, philosophy, and rhetoric.

At 12, French, of Russian origin, Jewish, I could carry my head up, believing myself protected from the shame of belonging to the camp of the executioners. At fifty, I have the bitterness of not having this good conscience. And the poor consolation of thinking that it would have been the same, if I had been born elsewhere, earlier, later ... The Twelve, this magnificent poem by Alexander Blok, written in January 1918 to testify of the Revolution (guided by Jesus Khristos -invisible-) is only a pretext. A necessary pretext, indispensable, as much by the beauty of the text as by what it implies. Around this rock, fragments of other masterpieces, but also unknown poems, unpublished poems, words. And the use of these languages, all beautiful when they are intended to love, to understand, unfortunately to hate too ... "The Twelve", like many of my electroacoustic works, is an oratorio made from recordings of natural elements (voices, instruments), numerous montages, innumerable mixes. This is not just a technique that I chose very early to make mine, but a specific approach to composition, allowing for both the voice and the instruments, the use both controllable and directed by a superposition of …

Recording of Juraj Ďuriš' Prortet.

Is a kind of concert radio art. Concert Radio opening for the death of Dantsy de Büchuer.

This piece was produced at Rapp's CEM Sound Laboratory. From the "Cuadros Sonoros", recordings composed by Judith Akoschky with "Cotidiafonos" (instruments of her invention built with daily objects), this work is approached with preexistent materials but without devaluating their strong evocative load. Diverse spectral transformations and temporary superpositions give rise to new evocative pictures in which sonorous images of a dream like character alternate with other "more real" as through in a kaleidoscope. In the end, the sounds evoke a distant childhood with nostalgia.

(Done at the C.I.E.J. of the Caixa de Pensions Foundation of Barcelona) Selected in the 17 Concours International de Musique Electroacoustique de Bourges, Franca (1989). Encarrec of the Center for the Dissemination of Contemporary Music.

Memories ... The fascination since always for the musics of requiem. Not so much for the text besides, to which I do not adhere, only for a certain spirit, a certain depth. The subject itself is imposing and the composers have often delivered the best of themselves. So I redid the route from the Gregorian Mass of the dead through Ockeghem, Lassus, Cererols, Mozart and Berlioz to lead us to Fauré, Ligeti and Chion. You will see traces throughout my play, as a kind of tribute to people I do not know but who still speak to me through their music. The title of the piece also refers to the "RAM" of a computer that is this volatile memory where the information remains only temporarily. Most of the work was done using computer tools and only from sound material extracted from Requiem. This version of Mémoires vives was completely reworked in the summer of 1989 at the studio of the Université de Montréal's faculty of music. It was premiered on March 9, 1989 at the Claude-Champagne Room, Montreal, in the "It's" concert series of New Events. Mémoires vives is a commission for the Nine Events, created with the help of …

Radiophonic piece, written after impressions received at an exhibition "Insolitudes" proposing plastic works by Louis Aons and a book-fiction by Eugene Savitzkaya. "Capolican: the secret of fabrication, need to have brothers and sisters, but he has nothing more to ask of his mother, except that she is silent and disappears." Then following the advice of the Rooster, he creates the mold from which they will come out, content with his factory, what will he say? " Using flanges of the text of the author by its sounds but also by the impact of the word, I wanted to show a fragile balance between this morbid aspect and the humor that can emerge with a little hindsight. Bitter flavors, ephemeral fragrances. Between the inside of the charnel house and the edge. Difficulty to live this possible imaginary or to discard these sharp blades. An alchemy of material where we stop, dream and go back to sewing, without being able to take. Craftsman of a thread. I wanted to thank Pierre Gralepois for his collaboration.

Some Find Me... contrasts two portions of Gerard Manley Hopkins' poem "The Wreck of the Deutschland." The poem, which actually has thirty-five stanzas, was written in response to the sinking of the ship the Deutschland in the mouth of the Thames. The ship was carrying five Franciscan nuns who were exiles from Germany. In this poem Hopkins (who was a monk) is trying to come to terms with his conflicting emotions and impressions of God brought on by this tragedy. The two stanzas I chose (#4 and #11) seem to sum up the overall expression of the poem. The composer’s slant on the poems is from an anti war stance and sees the text as expressing two different interpretations of a creator. He sees that regardless of the religion, there are two main approaches: Those that use religion for war and those that use religion as anti-war. This piece is meant to promote peace rather than a specific religious belief. The piece was realized at the University of Alabama and Birmingham-Southern College Electronic Music Studios. The soprano featured on the tape is Carmen Mason. 11 "Some find me a sword; some The flange and the rail; flame, Fang, or flood' …

"Mura-Iki" was inspired by the different traditions of playing the flutes, especially those from the Far East. The Tradition of the Shakuhachi was of particular importance due to the extensive use of breathy playing. Thus the tittle "Mura-Iki" which means "Explosive Breath". The piece is though written for the "modern" Boehm Flutes, all played by one performer. The performer has generated sounds of different kinds : breathly sounds with and without tongued attack ; harmonics ; flageolets ; overblowing ; hole slaps ; mixtures of tones and breath ; multiphonics ; break tones ; different kinds of lip pressure, etc... All these kinds of techniques are fed into the computer and then manipulated and edited. In this way, the electronic material emerged : large breathy sounds contrary to breathy attacks, hard percussive sounds and sustained multiphonic-like soundscapes. The performer, on the other hand, performs the sounds in their pure nature origin. In addition to the above mentioned main material, eight double-basses have been synthesized partly for providing a sonic contrast due to the different kinds od attacks and sustained character, and partly to provide a "bottom note" for the feel of floating "tonality" especially during the parts where the multiphonics …

Was initially conceived as vocal music for two choirs, however the computer realization, which I prepared in 1987, took over from this first conception and resulted in a piece that would be hard to define. A11 the sounds have been synthesized. They originated by direct sound synthesis on the WAX/EMS computer using the CHANT program. These sounds created in the first two minutes of the piece. The sounds for the subsequent 12 minutes which form a kind of variations, are transformations of the original material, either through digital reverberation and delay or using voices and sound layers super imposed onto one another. They were realized at the polish Radio's Studio Eksperymentalne" in Warsaw in 1989. The central idea of the piece is the progressive decomposition. Starting from the "realistic" vocal sound it leads onto more and more "electronic" idioms, which never less retain elements of their vocal origin. The world premiere of the piece took place at the Techno-Musical Biennale in Koriyama, Japan in August 1989.

Eduard ARTEMIEV: 12 looks on the world of sounds The piece was made in 1970 with the ANS synthesizer from Murzin. The work begins with an introduction made with an instrument of the family of jew's harps, the "Temir-Komonz", Kyrgyz instrument whose sound is produced by the pinching of a small steel blade and whose resonator is the oral cavity . During the performance, there is a permanent drone, the basic sound of the harmonic scale. The melody is modulated by changing the opening of the mouth. In German, it is called "Monltrommel" (drum of mouth). 12 parts: first part: "The acoustic versions", second part: "The spectral line", third part: "The decomposition of the stamp", fourth part: "The harmony of the timbre", fifth part: "Variations of the movements and of rhythm ", sixth part" The inverted harmonic versions ", seventh part:" Horizontal-vertical polyphony ", eighth part:" The variation ", ninth part:" The symbolism ", tenth part:" The mounting of the stamp ", eleventh part: "Free play", part two: "It's the same timbre in a free game of all its harmonic sounds that are reproduced in a free rhythm on an equal dynamic level. To continue these variations could be interesting. …

The composition was made for the Bicentennial of the French Revolution. Nomination for the "Treasury of artistic achievements - message on the occasion of the Bicentennial of the French Revolution and the Declaration of the Rights of Man and the Citizen", France 1989

Ivan PATACHICH: 1789 Libegal FRA The title of the play is a date, known throughout the world, and an acronym containing the first syllables of the three slogans of the French Revolution: FREEDOM, EQUALITY, FRAternity. The sound materials of the play are those three words spoken and sung in nine languages, French, English, Spanish, Chinese, Arabic, German, Erithrenic, Russian, Hungarian, and the sampled structures of the vowels and consonants of these notes in nine languages, as well as two concrete sounds. These sounds are interlaced by a pre-recorded and modulated percussion part and another one of percussion "alive" / live / without modulation. The work has nine parts "atacca". Its bridge shape is phrased by rhythmic contrasts. After the fifth section, the sections return "in crayfish", but in a varied form. The stereophonic work was realized with the collaboration of Istvan Horvath, sound engineer, Gabor Kosa, impact, Agnés Mester, -soprano, Gabor Olah, -Baryton.

Haris XANTHOUDAKIS: 1 ... 789 It is the setting to music (of the "setting in rhythm", more precisely) of two Greek texts talking about the French revolution and illustrating two opposite aspects of its impact in Greece, still occupied by the Turks, of the end of the seventeenth century: a "Patriarchal letter" (sort of circular of the Patriarch of Constantinople, to read in the Orthodox churches), condemning the French who "practiced the fraticide, killed their king and lost their faith in God" (in this order) and, on the other hand, a poem by Antonios Martelaos (1754-1818), congratulating the French for having shed blood for the freedom of the people. The first text is played at the beginning and end of the song (phonetically reversed and in a normal voice, respectively). The other forms slowly, parallel to a rhythmic accompaniment, of "disco" nature. This double reconstitution will be done in steps of proportion 1: 2: 3: ...: 7: 8: 9. A portion of this proportion, namely 1: 7: 8: 9, serves to generate an interval pattern (semitone, fifth, sixth minor, sixth major) that appears in both its sequential and simultaneous forms. Repetitive music, "disco" music, serial music, for a piece that …

The permanent guillautine or "Who destroyed my song", 1989, texts of Alphonse de Lamartine, Salomé Kestenholz, Théroigne de Méricourt, recited by Gunda König, 13'30 " produced at the ELAK studio in Vienna, Austria (Institute for Composition and Ele- ktroakustik / Hochschule für Musik und darst Kunst) My piece is based on a constructivist idea that I call "compact music". By mathematical division of a piece of music in 2,4,8,16 etc ... parts of the same lengths and by their overlays, one can arrive at a rather short summary, campact and gray. It is an object that contains all the elements of the package composition. I did this operation with the song "the permanent guillotine", musical elements revolutionaries. Between the birth of a song and its violent destruction ... "Who destroyed my song? ..." To this process are added texts on and Théroigne de Méricourt; in French the "biography of Lamartine, in German a critical reflection and" feminist "of Salomé Kestenholz edt a poem of Bertold Brecht.

Recording of Richardo Nillni's Entropogel.

A kind of electroacoustic medal in the form of a commemorative "Dramasonie" dedicated to those who lived enslaved in all times and in all nations. Served by those whose proud and contemptuous arrogance is the only reason for their desire for power and domination. Those are always present ...

"Frastagliate onde" is a composition based on an italian translation of an anonymous greek fragment (about III Sec. b.C.) : Frastagliate onde spettri festanti adornano il suono dei fragili spiriti The Italian translation of this text is very interesting for his particular speech sounds; so all the piece has been developed starting from the analysis of the text recitation, and processing in several modes the phonetic content of each word. Every sound has been realized using only the base text.

This piece was created on the composers' Desktop Project Computer Work station, over the space of about 10 weeks, and lasts just over 11 minutes. This piece draws on six basic sound sources. Five of these are purely synthetic, whilst the last is the recorder sound of a breaking twig. All but one of the synthetic materials was f-generated by a method of granular synthesis via fractal organisation, using software, which I developed in the summer of 1989. The hope is that this technique gields sound whose inner vitality approaches the illusive richness of the natural sound world. Synthetic and natural sound sources are also subject to spatial processing, using software which I wrote whilst the work was under way. This piece was first performed in December 1989 at Keele University.

Text, Direction and Music by Roland Cahen Become a media Tutti or teleological vision of the connectionist syndrome Stuff for 5 actors, live video and 3 magnetic tapes Max, a hard-nosed spectator of the small screen, after realizing that the interesting things were happening on the other side of the window, suddenly sees his ideal becoming his everyday life: here he is consecrated a sacred monster, a star adulated ... enjoying his own image, hallucination hallucinating our "hero", too much wanting to burst the screen, it explodes: after the canonization television, comes the time of sanctification by a Mass media to the cathodic death ... Point d'orgue! With the mediator Yves Aubry Max Claude Bernhardt Pernille Fredericksen Guillemenette Galland Mine Angel Camera Liliane Witrant Created in November 1990 at the Café de la Danse in Paris