Recording of Francis Dhomont's "Points de fuite" ("Vanishing Point").,It was realied at the composer's studio in Montreal in 1981-82 and was premiered on June 13th, 1982 at the 12th Bourges International Electroacoustic Music Festival.

"Cryogénie" was composed in 1986 in the electroacoustic music studio of CNR Amiens. Selected at the electroacoustic music competition of Bourges 1986.

Recording of Isabel Pires' Lamento. This is a work for electronics and premiered in Lisbon. This composition received an honorable mention at the 1st International Acousmatic Music competition at the Portuguese Música Viva Festival.

Recording of Jonty Harrison's Klang realized in the Electronic Music Studio of Magyar Radio in Budapest during September 1982. It features the sound of earthenware casseroles and electro-acoustic techniques.

This composition represented Polish art at the exhibition "Documenta VII" in Kassel, Germany 1985 and earned 2nd prize at the 12th International Electroacoustic Music Competition in Burges, France.

Recording of Lelio Camilleri's Overfall. Transformed piano sounds and sound structures realized by means of voltage control make up the sound material of the piece.

Recording of Stelios Giannoulakis' Zrrraam!. This work consists of processed speech, instrumental sounds, water, machines, and doors to help explore the duality between "inside" and "outside". The piece was mentioned at the Bourge International Electroacoustic Competition in 2000.

Recording of Charles Bestor's Into the Labyrinth. The "Into the Labyrinth" suite was winner of the Grand Prize in the Musica Nova International Competition of the Czech Republic. The work was realized in the Electronic and Computer Music Studios of the University of Massachusetts, USA.

Recording of Vladimir Komarov's Composer X.X.X... This piece was composed in 1996, and is constructed on the text of conditions Bourges Competition.

Recording of Bohdan Mazurek's 6 electronic preludes for tape.

Recording of Jorge Rodrigo Sigal's Cycles. This work is separated into two movements: potS and Stop. This work explores the idea of feelings and sounds coming back to our memory, "cycles" of ideas, transformations, processes, and sounds. This work was composed at the City University's Electroacoustic Music Studios in London and won 1st prize at the 1999 International Luigi Russolo competition.

"This piece made in 1969 with extremely modest means was integrated in 1972 into a triptych, Assemblages, which accompanied an exhibition of "Volumes éclatés" by the sculptor Michel Anasse. It can be considered the third of my "presentable" studies. “Energies” was part of the material submitted in 1988 for the first "Magisterium" of the Bourges Competition, which was obtained. "

Dedicated to Hélène Berton Sound Production based on texts from Marie Uguay Voices (by appearance order): Marthe Turgeon, Jean-Pierre Matte, Marie-Claude Trépanier, Gilles Laforce. The reading of the used texts suggest the creation of "poetic characters" that are so many views, words, interpretations stemming from the poetry. These caracters, which are four in number, were confided to many different voices: actor or radio-speaker, female or male, natural or transformed, alone or multiplied. In addition to this radio-style uses of the voice, are the electroacoustic ones by the use of interpretation choirs where the narrators echo the many-sided meaning of the poetry. The tittle was choosen in reference of an hospital room and also of this place, represented by the white colour-which included all the others-located between the birth and the death, maybe the ones of Marie Uguay (who was prematuraly dead in 1981 at the age of twenty-five), where all the virtualities, all the possibles are permitted. La Chambre Blanche was realised in 1985-86 at my own studio and at the studio of University of Montréal. This creation was possible following a grant from the Explorations program of the Canada Council. The texts of Marie Uguay come from the anthologies …

Recording of Eugenio Giordani's Voicings for two tracks tape. Electronically produced sound material based on a mixture of nine oscillators tuned up the the unison (with small detuning) with triangular, square and ramp waveform. Voicings has got an honour mention at the 11° International Electroacoustic Music Competition of Bourges and it has been performed in a lot of occasions at RAI and in many tape concerts.

This work was premiered September 15, 1984, as winner of the 1984 Newxomp Competition. It is the second of three pieces which together form a set. The piece is dedicated to my daughter S. Michelle, whose singing voice provided a model for many of the synthetic voices, and also to my old friend and teacher, Mr. John R. Brasher.

A piece created on the digital system "UPIC" invented by the composer Iannis Xenakis. It was awarded the prize for UPIC based composition of the “Center for Contemporary Music Research (KSYME) in Athens and then performed at the electroacoustic music festival of Bourges in 1986, where it made an impression. The next year it was awarded the "residence" prize in the international competition of electroacoustic music of Bourges. Since then, it has been performed in many countries.

A rumor is a sound in the air. Elusive, we seek to capture it, fearing that it may concern us, that it may hold a part of shameful truth. Fleeting, it cannot be caught. As soon as it materializes, it vanishes, leaving only traces in our memories. Here, nothing is certain. Where does this sound come from? What is it made of? The piece endlessly oscillates between pure sound and meaning, without ever resolving to one or the other. The piece is at the limit between texture and image, between material and anecdote. And rumors go by, always surrounding us. Here and there, sounds reach us like faint echoes of the world. If you believe hearing things about you, why worry? After all they're only rumors... and if you listen carefully, you may find the key. ... (Place de Ransbeck) A small square in Ohain (Belgium), home of studio Métamorphoses d'Orphée where the piece was produced in June, 1987. Rumeurs (Place de Ransbeck) was premiered on September 24th, 1987 at Concordia University, Montréal. The residency in Belgium was the outcome of the prize received at the 1st Phonurgia-Nova International Competition in Arles the previous year and was made possible by …

This piece, similar to Matrechka, the nest of russian dolls from which the title originates, takes in the form of an unveiling, a journey where reality, of a certain form, gives place to another reality. It uses the theme, dear to surrealists, that art should never mistaken for the object it represents; thus, in a painting entitled L'air et la chanson (The tune and the song), René Magritte writes, under what seems to be: Ceci n'est pas une pipe (This is not a pipe). Thus waves, breaths, even music originate from elsewhere; they are presented in unnatural forms. From an tumultuous exterior and chaos, we gradually progresses towards a helpless and anxious interior. The sound objects progressively adopt new and unheard-of forms, and resemble less and less the real objects from which they arise. The piece is in seven sections: Chaos, Gris acier, Outremer, Terre de Sienne brûlée, Bleu de Cobalt, Pourpre, Terre d'Ombre. Matrechka was realised between 1984 and 1986 at the studio of Université de Montréal and at the composer's studio from sound material created for six holoscultures of Georges Dyens. The work was premiered on May 1st, 1986 at the Université du Québec à Trois-Rivières (UQTR). Matrechka …

Recording of Boyko Stoyanov's C.A.S. Stoyanov was inspired by the interpretation of Chopin's Op. 30, no. 1 by the Japanese pianist Rikako Akatsu, performed at the Chopin Piano Competition in Warsaw. In this work, the composer wanted to create a unique form, the basis of which provided by the electroacoustic music.

Recording of Alejandro Viñao's "Triple Concerto" for flute, cello, piano, and computer. Triple Concerto was commissioned by Option Band with funds provided by the Art Council of Great Britain. The tape was produced and composed with a Fairlight computer music instrument at The City University Electro-Acoustic Music Studio in London.

Recording of John Celona's Instrument flying performed by percussionist Salvador Ferreras. The piece is based on pentatonic scales. The performer shares the musical material that exists on the tape and plays in and out of phase with the fast, linear and spatially-distributed patterns.

Recording of Elainie Lillios' Speaking...again. This is a radiophonic composition based on interviews with Don, a long-time friend of the composer. Don experienced a profound and life-changing challenge in his early 50's and set an example for how we should all approach living through his outlook and determination. Don teaches us not to take the simple things for granted. This work was commissioned by La Muse en circuit and premiered at the Péniche Adélaïde for the radiophonic art prizewinners competition.

Recording of Scott Wyatt's "All for One" for solo percussion with electro-acoustic music performed by Thomas Siwe, percussionist. The piece was composed for a unique arrangement of percussion instruments and loudspeakers within the performance area, creating a large sound sculpture. "All for One" was written for and dedicated to percussionist Tom Siwe. It was awarded the 1984 CIME grand prize at the 12th International Electroacoustic Music Competition in Bourges, France.

Recording of Juan Piñera's "Tres de dos" ("Three of two"). The piece consists of three parts: a) "Primero de Dos" ("First of Two"), b) "Segundo de Dos" ("Second of Two"), and c) "Tercero de Dos" ("Third of Two"). The piece was dreated in collaboration between the composers Juan Piñera and Edesio Alejandro. The title is derived from the fact that the piece consists of three parts made by two compositions.