The tape with electronic sound was realized in the Polish Radio Experimental Studio in Warsaw. The Lanier Trio (USA): Carry Lewis - Piano, Dorothy Lewis - Cello, William Pruecil - Violin

Faculty recital performed at the UNT College of Music Concert Hall

Faculty recital performed at the UNT College of Music Recital Hall

Faculty recital performed at the UNT College of Music Recital Hall

"Across the Evening Sky" consists of sustained, slowly changing sonorities and pedal figures which gradually evolve across a variety of registers, densities and intensities. Formal cohesion is achieved via a process akin to isorhythm, wherein large-scale repetitions occur at varying rates, thus resulting in ever-changing juxtapositions of material. The composition was realized at the computer music studio of Northwestern University in the winter and spring of 1987, and received its premiere at Dartmouth College in October of that year.

Tendenze is a tape piece which is realized by means of a string quartett and digital sound systems. The composition is produced by the 3rd Radio Channel of RAI and has been realized and recorded in Rome at the C.P.R.F. Studio on 9-12 February 1987. About the composition the composer writes : "In Tendenze we meet two sound environments, that of concrete sounds and that of synthesized sounds. Both interpenetrate each other, exchanging timbre elements and creating just on space. The electronic sound is in fact strictly connected to that of strings and it amplifies their harmonic content stressing, at some time the internal plot of the sound whole. The two levels are in connection through perceptive distances created by the "trends" (tendenze) of a material towards the other. The linguistic reference of the traditional string quartet is progressively destructurated by the introduction of electronic synthesis and the elaboration of the timbre of the whole sound space determinde by two elements. What we listen to is therefore a whole where timbre and perception are the first elements in a space of multiple relations". Tendenze was realized with the participations of : Pasquale Santoli (producer for RAI), Shalom Budeer (violin), Philip …

Even thought the composition doesn't conclude any concrete theme, I have decided to participate in the category C. The basic work of composition is visual imagination, in which the musical form is subordinated. That is why the basic form of the choregraph movement of the interpret on the stage is so close connected to the music. From the point of view of the musical confrontation of three elements, which flow into music conflict. The score of the solo trumpet and the music of the recorded trumpets on the tape are mono thematical. This theme is bipolar and has an interval structure, which develops into an evolutionary development. The movement of the player has direct connection with the form of the composition elements. The selection of harmonic elements oscillates between the chromatically using of the former mentioned structural model by the use of micro intervals. My basic imagination other than the musical idea, which I wanted to express, deals with the fate of humanistic ideals in this world and fate of its authors.

Recording of Gilles Racot's Noctuel.

"Off the Lip" is a term applied to surfing and windsurfing, meaning turning on the broken top of a wave. The piece "Off the Lip" came to exist in the break between the old and the new. This applies to studio techniques as well as instruments (traditional instruments, synthesizers and computers) used in this room.

In 1989, "Konstruktie IV" obtained a "Residence" at the "17e Concours International de Musique Electroacoustique de Bourges 1989". This Prize gave him the possibility to realize an electronic work in the "Laboratorio de Investigacion y Produccion Musical del Centro Cultural Recoleta" (Buenos Aires/Argentina). Here, he made in the months March/April 1990 the work "Buenos Aires". The first performance of the work was in the concert hall of the "Centro Cultural Recoleta".

"Meteora" is a monastery located near Delphi and built on top of three huge blocks of stone that dramatically overhang a flat land elsewhere. "Meteora" was composed at the Stanford Computer Music and Acoustics Research Center (CCRMA).

The piece uses a fairly wide variety of sounds made of metals as well as sounds from a SFU's Gamelan orchestra. Then on the compositional level it is based on the principle of movement from simple to complex, and vice versa, metamorphosing a stamp or texture into another in the process.

This composition continues the development of a musical language based on the color of unusual acoustic sounds. In this case the predominant use of inharmonic timbres (metal, multiphonics and a non-octave tuning system), creates the language that our musical traditions has for the most part ignored. A series of sections or "windows" based on specific sound sources has the listener "caught" by their interactions. Overall structural integrity is maintained by the reuse of similar gestures, colors and tuning system. The composition was created entirely through digital recording and mixing of acoustic sounds and no electronic effects or processing was used. This working method combined with the compositional decisions produces a pure, untranslatable, and sensuous immediacy to the music. This immediacy is partly created by the recording techniques which accents the presence of the performer behind each instrument. Therefore the piece continues the composers' polemic against the increasing depersonalization of music made by electronic synthesis. By capturing the irrationality and irregularities of human performance this composition suggests an alternative way of allowing the human presence to be perceived through the vastness of the technology used to create such a composition. In this sense the deadening skin of sound habituation is peeled …

The Photograph was conceived in two separate studios with very disparate equipment. It is using vocal, string, and percussion source sounds, as well as keyboard and electric guitar sound. The former from one studio, the latter from the other studio studio. No "real" acoustic instruments were used although they sound like "real instruments or voices. Different methods of sampling were used except for electric guitar. The metaphor for the piece is the photograph because as a photograph is a "captured" reality of light so this music us a "captured" reality of sound (by way of sampling). It was written for a choreographer cooperative in New York City.

The sounding material of the piece -as its titles indicates- is derived by sketching with an electromagnetic pen, on a graphic tablet of UPIC SYSTEM. The wave-shapes and envelopes come out mainly also by sketching, but wave-shapes and envelops of certain sound structures are determined by microform of human vowels. The work consists of nine formal sections. The work consists of nine formal sections. The lengths of these forms and duration of pauses and sounds are defined by a 60 membered numerical series based on the 25/3. The climax of the piece is reached at the end of the fifth formal section and from here the corresponding movements varied and altered in space appears in mirror-image form. Thus in their basic material the first and ninth, the second and eight, the third and the seventh and the fourth and sis movements derive from the very same material. A motive with the quickness of a quintuple extended with a sustained note, frequently makes its appearance in the course of the piece, which might be even called the principal theme, all the more, since the fifth movement -the climax- supplemented by a rhythmical ostinato, is constructed of this material. Restricted and free …

"Variations on return" was completed in the Finnish Radio Experimental Studio in 1987. The name has a double function: Laurson dictated the rhythms to the PDP 11 computer using the 'return' key, and the variation idea is a musical one, since the composer returns to the same material over and over again in different shapes. The basic sound material is an explosive noise produced by Music V. This is manipulated by a filtering programme developed originally at the GRM. After this Laurson has proceeded to mixing again with the Music V, and the final tape is put together in the analogue studio using a multitrack recorder.

The journey to Paradise, 5 images according to the fragments of Robert Musil, based on the voice of Gunda König, is a commission of the INA / GRM of Paris 1987, produced and realized in its studios. - PRIX MAGISTERIUM BOURGES 1988 - "sand / boats / buzz of people / further / arrived / the murmur of a fountain / beautiful the world in the distance like a bland noise / in the center of their hearts / in the center of his / her heart / center of my heart / now, one can dream, the senses are falling asleep / she was talking, smiling, laughing smile / beautiful / perfect, perfection, beauty, beauty accomplished - an animal, a portrait, a woman / happiness in sadness - the sadness in chiseled happiness, sharp as a ray of the shadow of noon / two pairs of eyes get damaged / examine the objects / she murmured, a lucid terror as noon seemed to surround her heart (always the great test was the sea) / ruthless mistress, rival, self-examination / bells / quiet things, unclear / a love of the absence of love, who gently hands hands anxious, summer, burning, …

Trisson (1987) is based on the triad Naturalness – Culturality – Transculturality. Thus, around a pedal, around a permanent, non-evolutive sound, placed in a medium area, as a centre of sonorous gravitation, that has the aspect of a fundamental buzz, of no geographic or historical appurtenance (symbolizing an essential and hidden, secret vibration of life) and which represents the natural factor, gravitate other sonorous strata outlined in steps of essentialization. These strata are “woven” around the fundamental buzz like a complex sonorous fabric; this features the essences of some planetary cultural traditions. From time to time the sonorous fabric, slowly evolving from moments of “bloom” to others of purification, of rarefaction, is unexpectedly illuminated by the very intense outburst of a triad (trisson), a major chord of three notes, made up of a fundamental C sound, a grave accent with the vibration of thunder, a central G sound (the harmonical 12) and a superacute E sound (the armonical 80). In this way the horizontal evolution of the musical discourse is projected vertically. This music is meant to be listened to in a vast space of a garden, of a forest or of a park around a cathedral or a temple; …

Sonambula is the body. The composition takes place first in the very heart of the sound, in the manipulation exercised on the multidimensional that it offers to our perception. It is at this surgical, almost cellular level where the "Big Bang" of the work occurs: a field of action in which the different grains of matter juxtapose interlock or interfere. The work on sound becomes the potential to carve the sound material that transits space-time in a constantly changing way and always by modifying our listening attitude in the thickness of the present. Sonambula is the limit. From this point of view, would there be a knot where we can articulate the end of the "sonic fact" and the beginning of a structural formalization criterion? This articulation is practically non-existent in the work in such a way that the sound itself becomes its own macrostructure; either through spectral modifications that allow to independently control each component of the sound, or through micro modulations within the same sound material we find the possibility of organizing rhythmic and melodic phenomena among other movements. Different granulations that fit into each other in a necessary and interdependent way, allowing us to unfold a discourse …

There is nothing left for the individual, if it is not sarcasm that allows him to react against the attempts of manipulation towards himself and the sadistic destruction of his living space. All the promises made to us every day turn out to be contradictory signs later on. Only Santa remains to create unity for the whole world. From his bag, he draws indeed some expensive dioxin, benevolent oxides, architectural pleasure for the eyes as the nuclear power stations and the highways; it does not stop there, with the delicious rockets, all carefully left and well-packaged. He shares his presents until we are really immersed in this wonderful calm, where no more birds irritate the nervous system and where allergies are no longer caused by pollen.

Recording of Martin Rudolf Schwarznlander's Pas Rien Musique pour une Feministe.

Science is capable of everything. One must try to embellish and improve one's inner power through science. We can neglect everything except science. The soul is like an oil lamp whose science is the flame. The miracles of the gods are the oil of this lamp. If it burns and shines it means that one lives. Without this force of light we belong to the dead. Poem of the famous philosopher and doctor Ibni Sina, 980-1037. The music emphasizes the meaning of the text of the poem. The text of the main message (science can do anything) is understandable while the rest of the text is not. The way of the composition is the onomatopoeia and the game with the words. Only sounds pronounced differently in the Turkish language are applied. In addition the composer uses the meanings of the rhythms and the Turkish scales which are underlined by the music.

What could be the dream devoid of images and inhabited only by sounds? Is there room for a sound alphabet of our daily lives? Conjugated sound images, telescoped in memory. Memories, episodes of sounds attracted repelling like electrons at the whim of my imagination. Eric Mulard.

"Sound recycling" would be the perfect term for Gerald Trimmel's composition cycle called "Palimpsest". When Trimmel performed his first "Palimpsest" in 1985, he did not consider this work as a final result. The following compositions were characterized by various procedures of sound accumulations and structural rearrangements. A lot of acoustic ready mades and complex structured sound elements were inserted, which first covered up and by and by extinguished the older ones. So the shrinking and dissolving fragments and the "young" and powerful soundscapes appear as antagonists of something like "aesthetics of dissapearance." The composition principle is based on the Palimpsest-technique (from the greek "palimpsestos"), which was used until the Middle Ages: manuscript pages or books, that have been written on, were scraped off, and used again. Additional Composer on "Palimpsest": Peter Böhm