Recording of René Uijlenhoet's Wedge. Music for two audio tracks. The composer describes this piece as being about sounds that wrench other sounds loose as well as frantically racing sounds or stationary sound planes. The piece was inspired by the rhythms and loops in Pierre Schaeffer and Pierre Henry's early Musique Concrète montages. Wedge was created with synthetic sounds from a variety of sources, as well as a pair of distorted bass clarinets and a manipulated cymbal.

Recording of Adrian Moore's A.M.S. audio mise en scène. This piece has birds, animal sounds, and processed sounds. Overall, this piece utilizes sound manipulation to alter the sounds and create new soundscapes.

Recording of René Uijlenhoet's Vorst aan de Grond. This is a work for two carillons, ringing bells, and two audio tracks. It was commissioned by the Utrechtse Klokkenspel Vereniging and dedicated to carilloneurs Arie Abbenes and Geert d'Hollander. This composition represents the history and significance of the connection between carillons/bells and Charles V, however the composer notes that it is not the monarch that is being honored but the eternal beauty of church bells.

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.

"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 …

Disregard for the welfare of all aspects of the environment stem from the negative attitudes about life that prevail in our century. Champions of bloated Western consumerism are products of an age that has framed and glorified these negative attitudes in popular existentialist philosophies such as the "sex, drugs and rock 'n' roll" ethic - philosophies that serve to vindicate a short-sighted, self-centered, hedonistic indulgence in life. Caring, conscientious, forward-looking attitudes are frowned upon as naive and absurd. The physical manifestations of these negative attitudes (such as running riot with chainsaws in our life-sustaining rainforests*) have devastating consequences for the long-term health of both us and our planet. Recent climatic conditions suggest that the Earth is beginning to lose patience with humanity and is preparing to re-enact history - to flush its surfaces in one mighty cathartic ablution. But are we prepared to perish? My composition is an attempt to musically dramatize this line of thought ; it begins by presenting, in extreme form, the two conflicting ideological attitudes (the positive and the negative), and then develops into a presentation of Nature's singled-handed combat against "evil", and ends on a note of warning (i.e. the music is fictional ; in …

"Delusional episode of short duration, bursting suddenly in a subject with a certain mental fragility." Larousse Dictionary My first attempt to make cinema for the ear. A beginning of scenario: a being who looks for himself dark in a fatal delirium. This piece would be divided into two parts: escape / isolation and fantasy / delirium. This scenario fortunately exceeded, I decide to focus on the internal space and its relation with form. I want to thank Francis Dhomont, Kevin Austin and Pierre De Gagné. This piece was made at the studios of Concordia University and the University of Montreal.

Recording of Reinhard Lakomy's Die Himmelferhrt des Salvador Dalí.

The title is only a loose reference to the story in the Bible. What interests me about the story is the idea of a large mass of people knocking down a wall through the use of sound. The story gives credence to the notion of music as a catalyst for social change. Beyond the sheer physical impact that a large number of sounds contain, the music is a form of language which is capable of creating thoughts. The power of music lies in the simultaneous physical and intellectual seduction of the listener. In the composition, four hundred tracks of sound are often assembled to create the sense of a large mass. Three hundred and thirty-three tracks are created by dividing each of the seven octaves into fourty-eight notes. Brass, string, and wind instruments from the Western musical tradition and from other cultures are combined to create these textures. The remaining tracks are made up from the unpitched percussion instrument families. The working method allows each track to have its own identity in terms of frequency and tempo. The relationship between each individual layer and the mass effect can act as a metaphor for the relationship between the individual and society. …

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 ...

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

All durations and pitches have aleatoric (random) values. Only pitches and durations of the form are constructed by another system. The source Material is created by some frequency modulated Sinus generators. You can hear this material at the beginning with a crescendo. The basic form is created directly out of this material by using two kinds of technique: 1. Subtraction (Filter) 2. Addition of filtered Material 3. Transposing and adding the new Transpositions. All of the structures of this piece are created by using these 3 techniques in concrete (the 3 transpositions of the basic form) or an abstract way (look to the upper line of the partitur). The concrete way: The basic form uses 3 types of filtration high (in the area of 5000 Hz: a), middle (between 500 and 800 Hz: b), low (in the area of 200 Hz: c). The basic form is created in this way: source material 30sec; 1a: 50sec; 1b: 30sec; 1c: 60sec; 2: 10sec 2+1: 40sec; 3: 20sec 3+1: 70sec. This form is used in 0.5 and 1.1 Transposition and 1.6 retrograde Transposition. This 3 Forms are positioned in that way, that they could culminate in the Transposition (look point 3) This construction …

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 …

This is the first in a cycle of pieces made of the same base material: samples taken from recordings made in a kneader and with a flint block.

The historic events in my country linked with the fall of the Communism in November 1989 gave us not only new dimension of life and unforgettable memories, but some precious sound material recorded by the alert radio people at the streets during the protest actions and finally during the historic days of the coup-d«etat, too. When I was commissioned in spring 1990 by the Prague Radio to create a new EA piece I decided, full of fresh emotions and memories, to use this (already historic) sound material but to create a strict music form which respects the chronology of historic events the same time. We can listen consequently the protesting demonstrators shouting their short phrases, the police speaker, the politician and his famous speech, the doleful outcries of young people beaten by the police forces and finally the outbursts of euphoria when the resignation of the old regime was announced, the bells of Prague (forbidden to ring during the Communist regime!) and the heart of Europe which began to beat freely again. The piece was premiered at the festival in Bourges in 1990 (and performed there again in 2000 and 2004) and performed in Grenoble, Switzerland, Austria (Vienna-Alte Schmiede), Norway …

Recording of Juraj Ďuriš' Prortet.

Recording of Stephen Montague's Tigida Pipa. Commissioned by Elms Concerts for Singcircle, with funds provided by the Arts Council of Great Britain. Tigida Pipa was composed in Ghent, Belgium, and completed in London in January, 1983, but revised several times until 1989. The text consists of invented words and percussive sounds whose inherent rhythmic structure propels the work at breakneck speed through a rondo of sonic adventures.

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.

"Industrielles" consists of a series of continuously evolving structures which resemble variations. Realized in the computer music studio at Northwestern University during the early winter months of 1988, the work is intended to reflect the stark, alienating atmosphere of a deserted industrial landscape at night.

Furies and Voices comprises three movements, entitled Prelude, Scherzo, and Song each lasting about three minutes. It owes its title to the progression from an anonymous, and at times furious, sound stream (highly demanding of some speaker systems) to the intimation of human song, intoned in counterpoint with relentlessly moving sound masses. The "human" sound is derived by way of digital sampling of a trombone sound from an earlier composition, In Memory. A description of the compositional process of the piece can be found in Otto Laske: Navigating New Musical Horizons, J. Tabor (Ed.), Greenwood Press, Westport, CT, 1999. The piece was commissioned by the Center for the Arts, Simon Fraser University, Burnaby, B.C., Canada, and is dedicated to Barry Truax. Furies and Voices received its premiere performance at the 10th Anniversary Concert of NEWCOMP, the New England Computer Music Association founded by Laske and C. Roads, in April of 1991. It was first performed in during the Colleque ?Musique et Assistance Informatique, Marseille? (1990). The piece is available on Neuma VI (1999).

This music piece reflects an evaluation of the Russian history on example of kremlin. Part 1: before 1917 Part 2: 1917 to 1954 Part 3: later of now

(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.

Shimmering is one of two pieces that fell out of an earlier piece. At the outset it consisted pretty much of just a few strands of interesting musical material, material that seemed to invite a straightforward presentation of about five to seven minutes. While working on what I thought was to be a one-idea piece. I found myself treating the material more and more like modeling clay -- stretching it here, tearing off a dab there, sticking it on somewhere else, rolling it all into one big ball when I got stuck, pulling it apart again and again, continually molding it into different shapes. The result is something I never would, and never could, have anticipated. None of the threads of melodic filigree were actually composed; in the process of mixing patches of textures they seemed to just happen, in turn suggesting larger stretches of that and other kinds of textures. I feel the piece is both an exploration of the nooks and crannies of the composition process, and of reactions and responses to the particular and often peculiar ways in which the medium of computer music suggests and informs that process. In the final analysis, the piece is less …