Choreographic fresco by J. Ludécher. Ballet in 10 paintings The work presented is n ° 9. And is the illustration of a painting by J. Bosch introduction: sound materials presenting the characters: - the mouse - the bird - Fish - the chicken monkey - the giraffe-swan - the flower woman Characters of a nightmare universe Organic assaults made of fire and darkness Flow of passions and fantasies. This work was created step by step, simultaneously with the choreography. The decor, the masks of the dancers were involved in the general inspiration of the work.

Recording of Sŭng-ho Hwang's The Legend.

That's it, we thought of everything. We are ready. We wait. Countdown. And then comes a storm. Disorganization. As if to tell us the imperfection. The storm passes. We live by proxy. And we are still ready. And we are still waiting. But there is no more countdown. A woman or a revolution ... to love and to suffer, sometimes we want to never forget. This piece was made with the director's voice, Shakespeare's texts, "media" quotes and many sound-recording sessions.

Recording of Mauro Bagella's Proporzioni. Performed at the Saint Cecilia Conservatory in Rome on June 20, 1980.

This work uses, with rudimentary means, the fixed qualities of a piano sound sampled by the lack of an AKAI factory. Despite a rather hollow sound that I sought in this sonata to give a field of expression quite extended to the possibilities of putting in play offered by the computer. The piece is in three movements, essentially based on the deployment of an initial agreement. At any moment, I voluntarily appealed to a rhetorical break of form, an appeal to our routed memory, to become, and yet frozen by the obsessive reiteration of the initial agreement. The second movement brings into play the sound transformations of the chord until its disintegration. The third movement is extremely short, but constitutes the implacable solidification of time. In the form of a magic square.

Recording of Chiaki Takatsuki's Polymorphous Polychromy. In this work I refer to the sound of the airplane as an assemblage of point of sound. Each point has only one height and is of short duration. These granules, without number, become the color of sound. Each plane has different speeds and multiple directions. This piece was created at the EISM in Tokyo, Japan.

Recording of Barry Truax's Arras for four computer-synthesized soundtracks. Arras refers metaphorically to the heavy wall hanging or tapestry originally produced in the French town of the same name. The threads running through the material form both a background and, when colored, a foreground pattern as well, even when they are the same thread. In the piece there is a constant ambiguity between whether a component sound is heard as part of the background texture, or whether it is heard as a foreground event because, in fact, the frequencies are the same. The listener can easily be drawn into the internal complexity of the constantly shifting pattern, but at the same time can sense the overall flow of the entire structure. Arras is a continuously evolving texture based on a fusion of harmonic and inharmonic spectra. The large-scale structure of the piece follows a pattern of harmonic change going from closely spaced odd harmonics through to widely spaced harmonics towards the end. Each harmonic timbre is paired with an inharmonic one with which it shares specific harmonics, and with which it overlaps after each twenty-five second interval. This harmonic/inharmonic structure forms a background against which specific events are poised: shorter …

Recording of Satoshi Sumitani's Nought.

Recording of Sukhi Kang's Mosaïco.

Recording William Ortiz's 124 E 170th St. (for electronic tape, narrator, and percussion). It is a mixed electroacoustic work depicting the Puerto Rican urban experiences the United States: the struggle against the agony of the ghetto and against the imposition of a crushing colonial state of mind. The piece is a summons to awake from the broken English dream and assume the Puerto Rican and Latin American essence that belongs to us. The text was written by two Puerto Rican poets living in New York City: Pedro Pietri and Sandra Esteves. The music largely makes use of Afro-Caribbean rhythms, and involves theatrics.

Recording of Boguslaw Schaeffer's Kantate Elektronische Musik. The four-track composition "Cantata" consists of four unequal parts; in this electronic music piece, the composer created a symphony in formally contradicting parts. This creates an obligation to be more accountable about the material. A composition then does not appear as a composition of the material, but as a form. The title refers to the idea of using as many devices as possible. The music is intended as a reflection of time.

Recording of Rolf Gehlhaar's Sub Rosa, four-channel electronic music on tape. This composition is based upon an examination of the physical interaction of various types of sound signals. Its structure and organization emerge primarily from the totality of these subsurface interactions. The fundamental process involved is that of interference patterning, brought about by a very slight but repeated variable phase shifting of a signal with respect to itself or by superposing many frequencies that are only very slightly out of unison. These kinds of interactions, taking place beneath the 'surface' of the sounds, can give rise to completely new sounds as well as complex and shifting timbral patterns where the rhythmic patterning of the surface is produced in manufacture by the superposition through pressure of slightly misaligned parallel weaves. Sub Rosa was commissioned by the Centre Europeen pour la Recherche Musicale, Metz, where it was produced in 1980; it received its premiere in Lille in 1980.

Recording of Maggi Payne's Rising quadrophonic piece with slides or dancers. Originally intended to be performed with abstract visuals which sometimes include slides, film, video, and /or dance.

Recording of Frank Royon Le Mée's Matines Pour un Lendemain de Fête, grand electric piece for tape and synthesizer.

Recording of Thierry Lancino's Le Banquet des Morts. This work was composed in the Computer Music Studio at Colgate University New York in February and March 1980. The studio, created by Professor Dexter Morril in 1971 offers a digital/analog converter built at Stanford by Joseph Zingheim in 1972-73. This converter is an interface with the Digital Equipment Corporation PDP-10 from the Colgate Computer Center. The piece uses software developed at Stanford, known as Music 10, as well as the score program created by Leland Smith, the Func program (allowing easy writing of functions) and the Gordon Ross Mixer program. The piece is therefore entirely computer generated. Two instruments used, one uses the principle of synthesis by frequency modulation based on an algorithm of John Chomning, the other the principle of additive synthesis based on an algorithm of Jean-Claude Risset.

Recording of James Dashow's Conditional Assemblies, quadrophonic work. Conditional Assemblies is based on three groups of five pitches, each group having one pitch in common with the other two. At the beginning of the piece each group is given a characteristic timbre and textural treatment, and the rest of the work develops, mixes and transforms the pitch- timbre-procedure relationships. The work is in two major sections each of which consists of two overlapping subsections. Conditional Assemblies was commissioned by the Biennale di Venezia for the 1980 music festival and realized at the Centro di Sonologia Computazionale of the Universita' di Padova. As usual, I was using Barry Vercoe's MUSIC360, and it was during work on this piece that I began to expand that program to meet my particular needs. Conditional Assemblies received 2nd prize at the Bourges Festival in 1981.

Recording of Paul Wieneke's A Garden for Orpheus. This piece is a study in musical applications of the critical band phenomenon, which is a means of evaluating acoustic dissonance between tones. Its use in this composition effects both harmonic and melodic considerations. Rhythm is largely defined by either simple "Fibonacci" relationships or complex patterns arising from several voices pulsing at various rates. The title is from a painting by Paul Klee much admired by the composer.

Recording of Jean Charles François's Err / and branching. This is the first of two pieces for tape made from sound material worked on at IRCAM during my stay in Paris, using Music 10. The final production was made at the Center for Music Experiment in November 1980. The 2 nd piece is in progress. The digital sounds produced at IRCAM are part of a large repertoire of tapes used in the context of the KIVA group's instrumental improvisation through amplified acoustic instruments.

Recording of Rob Kruit's An Electronic Symphony Everyone and Nobody.

Recording of David Kenneth Mason's Freispiel.

Recording of Gerald Bennett's Winter, music made for digital synthesizer. It is based in its sound and temporal structure, on one of Friedrich Hölderlin's last poems. These poems, which almost all have a seasonal title, are luminously calm; nothing moves, image is placed next to image, without syntactic or logical relations. In the play, six imaginary female voices make a double canon, unlike six families of non-vocal sounds. The sound structure, the choice of pitches and frequencies, also depend on the sequence of vowels in the poem. The large proportions of the composition, but also the inputs and durations of each individual voice, however also the temporal structure of the poem. However, the poem remains audible. In the music, as in the poem, there is no dramatic development, no climax; nothing is happening. Like the poem, the music presents objects to your reflection. The synthesis was carried out with the CHANT language at IRCAM in November and December 1980.

Recording of Alcides Lanza's Acufenos V, for trumpet, piano and electronic sounds. Written in 1980 for the trumpet player Robert Gibson, who did the premiere performance at Pollack Hall, Montreal, with the pianist with Alcides Lanza at the piano. The tape part of Acufenos V was made from sounds of recorded trumpet, with a diversity of mutes and styles of playing, and electronic imitations of the same sounds. Acufenos is a Spanish medical term meaning "tinnitus" (tinnitus: from the Latin ringing, French tinnitus or acuphene. It is the past participle of "tinnire", to ring: a sensation of noise (as a ringing or roaring) that is purely subjective. With the carapace of a porcupine type of animal. The tape part was realized at the electronic music studio, McGill University, Montreal, and finalized at the private studio of the composer (Shelan Studios).

A recording of Francisco Estevez's Contra-Contra.

Recording of John Melby's In tenebris. This work is for piano and computer-synthesized tape. The title means "In darkness", and is taken from a poem by Thomas Hardy.