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

It is used to describe that interval of time when a message travelling over a communications medium is susceptible to being interfered with by another. Analogous to the conversation where no person listens for an appropriate moment to speak, the messages are rendered unintelligible. "Through Windows of Vulnerability" explores both grounds of wide harmonies and sheer textures. This piece was created during the fall of 1988 at the Queen's University Electroacoustic Music Studios.

The musical theme consists of a sequence of three attacks. The first part is a kind of presentation of the intellectual and structural message of the composition. The thematic part of the whole piece is heard in this introduction. Rhythm and melody are extremely simple and the counterpoints are quite opposite to each other. Everything else is nothing more than a variation and development that follows: cutting, transpositions of certain elements, multiple combinations, metric variation, as well as developments of character and meaning that are appropriate.

Everything revolves around a phone. Waiting for a call can drive you crazy, as well as unwanted ringtones that sound from everywhere. Fortunately, there is Wes Montgomery to dream a little François and Chantal live a funny day everyone in their apartment. We can observe them as if we had inserted a small camera. Who does not want to penetrate the intimacy of others at times? History to recognize a little, or not at all. Finally, they will find themselves in the cinema maybe!

At the time of writing (inter)play I was interested in creating simple global frameworks which allowed the ear to concentrate on the details of individual sonic events and grains of texture which the electroacoustic domain offers. The broad structure of (inter)play is very straightforward. It is in two parts, each having similar material and function. Musical interest lies in micro-structures: details of texture, gesture and proportion, emphasised by careful spatialisation. The piece uses sounds which are breath-like, or breath related; phrases consciously employ breath shapes and patterns, and the overall structuring is concerned with cycles of breathing. The piece is, therefore, in a sense homophonic, in that, although there are sometimes many layers of sound, they all move as one line towards the same goal.

Distractions for Eternity is the last - for now - works of Kosk. A work born from an order placed with the Musical Research Group but, as is often the case, the final result and the first ideas have changed along the way. The arrangements for the material used for this composition were made at the GRM studio in Paris, but the mixing, and thus the work of final composition, took place in Helsinki in the autumn of 1985, in the calm of long days and nights. white. Kosk's method is deductive. The composition of the entire work was born from two recordings of about 10 seconds each. One contains the sound produced by the rotary movement of a kitchen whip, the other sound is produced by the friction of the blades of two swords together. From these small cells and their transformations is built a static music, severe, one of the main parameters is time. In other words, as its title says: what distractions do we need in eternity?

The piece is a mix of different achievements obtained from the program mentioned in the title: Unicum I. It acts in sound fields whose limits and characteristics are placed by the user, the development of the resulting materials are governed by random procedures of a virtually unlimited duration. The piece is therefore only an extract of prolonged achievements.

knots represents and attempt to create a ‘meta-instrument’ percussive in nature, within certain behavioural contraints. It uses both recorded and synthesized percussive materials generated using a variety of means including Music-11, an old fairlight CMI and a DX-7. The title refers to the way in which materials with wooden, skin and metal origins are continually intertwined and reconfigured in layers and periodically ‘untangled’. Structurally the piece imitates (in a fairly loose way) the overall shape of the envelope of a (metal) percussion instrument - a sharp attack with complex transients, followed by a long decay where the rate of spectral change becomes progressively slower. knots was re-mixed in 1995.

Work made from recording of "Jeunesse". Argument: "Discovered in Western Europe around 3054, this document is the only one we have in our possession concerning the musical customs of the end of the 20th century, the rest having been erased forever by the great 'electromagnetic wave' of 2015. It sounds like a recording of a musical concert by an amateur audience, which was common practice at the time."

Work done in the Electroacoustic Music Office of Cuenca with the technical support of Leopoldo Amigo. The gesture is at the base of almost all my musical works. The latter does not escape this constant. The word, perhaps the most complex physical production of man, has been in this case the chosen gesture generator. Sometimes whole, sometimes sectioned in tiny quanta, some of the words of a poem of Clara Gari's Finist Rae Transitions give physical support to the time over which the work is carried out; they are things that happen in the atomic fact that is the work. In them - and only in them - is the possibility of the existence of 'It is an amber bird.' Therefore, and because they exist independently of what happens, they are substance. I have only established the relationships, the configuration of the word-objects that form that work. And the configuration has been made thinking that the structure was made possible thanks to the shape and that at that time I was building a figure of a possible state of things in a logical space. Anyway, any comment about a paraverbal discourse, such as Music, seems as meaningless and contradictory as …

The metaphorical suggestion, already evoked in the title of the work, intends to draw the listeners attention to a kind of archaic symbolism. This symbolism refers him/her back to the mythical-magic character which belongs to the notion of the existence of a nether world proper to the cosmogony of some Latin American cultures. In a world like this change is not conceived as the result of a process of temporal development (causality) but the terms of a "mutation", in other words, a sudden, total change. The form of this work is meant to reflect this particular conception of time. To the formal aspect not lacking in certain sense of parody, we should add not only the composer´s intention of establishing a functional relationship between the choice of sound sources and the temporal structures, but also the reassessment of expressiveness. The work was composed in an analogue digital music laboratory and its sounds were totally generated from twelve instruments digitalized and processed in a Prophet 2002 Sampler. These instruments belongs to the collection of the author and the sounds were chosen according to the formal requirements of the composition.

This is a fun piece and should be enjoyed by both the instrumentalists and the audience. The idea of the work is obvious from the name, "Carousel". Labels run our lives – who, what, where we are and so forth. Minimalism, Maximalism, Expressionist, traditional. All these labels have different meanings according to who is listening. Not mentioning the importance of where the listener is from. This piece should be listened to, and not labeled. It is conceived fro the Electro-Acoustic Concert Environment, and the colors here are painted for your ears. Enjoy.

From the Other Side of the Glass is an electro-acoustic composition for many speakers in three movements, played without interval. The sonorities consists of and has emanated from human work, fragments of instrument sounds and cuts from nature. Bilad Human work and activity are form and sound catalyst in the first part. Short fractions from one as well as many lifes. Pålad Here it is human acts in form of improvising musicians that is most important for material and development. Many thanks to Paul Pignon, saxophone, and Raymond Stridh, percussion, for their participation. Enad The nature and incidents from it is the formal and sonorous starting point for the last movement. The sort of predictable impredictability that we call natural is of high importance in this part.

In four movements ... Aurora Borealis Full Moon Shooting Star Milky Way Nuits sans Paroles is a series of small paintings painted with an economy of means and a speech purified of any useless element. Ethereal memories, impressionistic visions, so are our Nuits sans Paroles...

A study on the coin as an object of reflection (sound value) and as a reference object (advertising). Like a frantic race to save time, the isolation of speed, the quest for the ephemeral. A look at human anxiety.

For being the round world, who walks away in the East looking for new landscapes, after many trips and adventures he will return to the starting point from the West ... perhaps without wanting to or looking for it. By listening to these 4 instrumental pieces, you will think that they consist of an interpretation made for traditional music instruments. However, for me, the composer is nothing but a new experience in the field of technological music. In this case the experimentation consists of a program that improvises, plays, exchanges in many different ways an initial succession of tones giving rise to very different sound tissues. It is an experiment of the same complexity and quality as others that I have used in the past and that have given me totally different sound results. In this case the experimentation uses shades of defined and adjustable height, creating clear intervalic, acordic, polyphonic organizations, etc. In this domain, a similarity with instrumental music is inevitably obtained. I did not want to avoid this reality using bands of noise or continuous changes of harmonicity, but, on the contrary, I highlight the winter using homogeneous sounds that parody some known acoustic instrument. The four …

Dream that Salvator Dali never did, "Tears to Salvator Dali" is a work dedicated to the memory of Salvator Dali. Can one paint one's thoughts with sounds, can one cry in one's painting in the face of eternal death, can one then grasp the space (of painting) in time (of music). Reduce, interpret, combine, associate, seduce, shine, verbalize, socialize, destroy, these are some of the verbs I tried to compose this piece, the material used is human voice, wind, percussion, street noise, electronic sounds. I took the basic principle of surrealism, free associations of ideas and events, collages etc ... all that could be translated by the musical medium. The challenge of this attempt lies in the abstract nature of music in comparison with its counterpoint in visual art.

Murmure is an electroacoustic piece for magnetic tape alone. It was created at the request of David Olds as part of the radio show "Transfigured Night". There are many myths that attribute the creation of the universe to a breath or a cry. From primitive African societies to Vedic texts in India, in China or among the Inuit peoples, we find universally a sound at the origin of the different cosmogonies. The astrophysical theories of the twentieth century do not designate the first seconds of the universe by the term "Big Bang". Murmure weaves in a few minutes the long course of the original breath to the human voice. The piece is both part of a musical theater on the dream called Meander.

In the example of "Guitarra Cubana" (electroacoustic experiments on a Cuban guitar), "Santur Electroacoustic" is a research on Persian santur (the composer is a friend and intimate student of Persian Santur player Hossein Malek). Indeed, the way we look at an instrument is very different depending on whether we look at it as a composer of heights (in the tradition) or according to the way we look at him - as a musical surface to explore - rather the timbre or sound topography of the instrument. For example, the santur is a very old instrument consists of a trapezoidal zither carrying seventy-two strings (four per note) fixed and intersecting, supported by eighteen movable easels hardwood, trimmed with a small bar of metal . First, it is possible for us to detune (or freely tune) all four strings which, by tradition, is a single note of pitch. This clashing of the strings produces extraordinary sound variability. We obtain a set of sounds with stamped colorings, sounds close to those of gongs and generally very rich in spectra but all having a metallic color (the strings hit by the wood). It is, on the other hand, possible to record the santur in …

Travel notes of a little white man in Africa. Shocked by this world, new to me, I tried to transcribe the sensations that I could have while traversing Madagascar: a shock of cultures, thoughts, way of life ... and the position, by always convenient of Western in this country. For each small movement (more or less chained) that could be the pages of a notebook, I looked for different qualities of sound rendering: distant images, flores, under water, opias, aging. ... And then that feeling of always coming back to the same thing ...

Nightmares and dreams possess wondrous advantages over reality: by transcending the constrains of reason, the dreamer travels beyond unforseen places in which she confuses Now with a multitude of yesterdays. As she closes her eyes, escaping through fantastic words that are larger inside than they are outside, hazy images of familiar and foreign faces dazzle her sense by transforming themselves into the characters of a play that nobody ever wrote and for which she is both, audience and protagonist, all at once. She may be hurt, loved or disdained. She can see and hear, although her eyes are shut and her ears slumber. Perhaps, as she awakes, she will wonder about the many lifes she just lived or she may decide to forget them as they secretly continue to shape her days to come.

This piece attempts to emotionally capture the political changes in the GDR and the consequences that go with them.

The Melólogo is a musical genre of the late seventeenth century, in which a narrator tells a story (truth or fiction), accompanied by an orchestra or an instrumental ensemble whose music describes, colors and reinforces the narrated facts. A chronicle is the story of an event, written informatively. Melólogo 1, commissioned by the International Institute of Electroacoustic Music of Bourges, is part of a large suite composed by 35 composers of different nationalities to commemorate the Bicentennial of the French Revolution (1789-1989). This composition is a narrative / musical description of the slavery of the black race from 1789 until the beginning of the 20th century. The different sequences of the play are: the forest and the hunting of the Negroes, the boat trip, the arrival (at the port of Sancta María de los Buenos Aires), the sale of slaves, the announcement of the liberation and the party final. During each sequence, narrations, poems written by black poets who lived in the French colonies, descriptions of diseases, sale prices of slaves, names of boats, captains and the arrival at the port of South America. From the sound point of view, the composer chose motifs and samplings of melodies and rhythms …