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 …

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 …

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.

(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 …

"Prometheus Kommt" is a composition commissioned by NOK Korea. The premiere of the play took place in 1988 at the Olympic Stadium in Seoul. The first part (the legend of the fire) was played in monophony during the torchlight procession and the transfer of the Olympic flame; the second part (Harmony) at the final ceremonial by about 2000 speakers. The different sounds (trumpets, tamtam, vocals) were produced and ordered by a program on VAX 11/780. It was necessary to take into account, during the composition, the immensity of the stage, the need to use simple structures (given the number of listeners), the strict organization of the unfolding and the predictable atmosphere in such a situation.

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 …

... From one shore to another, edge to edge, moving surfaces, irrigated, improbable, architectural, desert, brutal, volatile ... Organic solitudes ... Swarming Cloud ... Travels ... Inner sail crossing, Towards absence ... Towards the immisson ... To the infinity ... Towards... Meetings / Resurgences at the four Cardinals.

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 …

Recording of John Rimmer's De Motu Naturae. The work is a musical reflection on the author's personal environment. The movement of nature, of a large scale, cyclical, with ebb and flow, is listened to and rendered thanks to the use of accelerated and punctuated dramatic gestures. These elements contribute to the "dance" quality of the room.

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' …

The work "Reading a tarot" was created thanks to the use of granular synthesis in real time. It was generated after asking the tarot how to create a piece of music using granular synthesis. His answer about time past, present and future, suggested a sound journey of large proportions that was relatively, easily achieved using GSX and GEMSKX, two granular synthesis programs available in the Simon University PODX system.

"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 …