This piece was made at the Montgets in the summer of 1980 or 81 with simple production means, 3 Revox tape recorders, a pair of scissors and a small 4/2 mixer. It relies on sound recordings made during a weekend spent with the Théâtre du Rafeau du Mans (French Tanguy, Laurence Châble ...). In particular, I used a recording made during the descent and the rope climb at the bottom of a former wheat silo where we had a picnic and played some music. The piece uses this material by metaphorising it by transforming it with electroacoustic means into a fantastic fiction, where the dream and the death rustle in spite of the side in the train of the characters. But the train of the underworld goes very far to the depths of the cave.

Invited, in 1984, by the Laboratory of Investigation and Musical Production of the Cultural Center of Buenos Aires to realize an electronic work with the digital system, she composed "Encantamientos" whose creation took place in the audition room of this laboratory, December 10, 1984. "Encantamientos" has three movements, the second of which is linked to the first, and the last is separated by a pause. The three movements were composed looking for climates to other sound worlds. First) He who offers nature, which we normally do not know how to hear, let alone appreciate, and the fascinating mystery that it hides; I would say "ecological tribute". Second) That which concerns the euphoria, the pleasure of sounds isolated, related, superimposed, pushed or diminished; "tribute to sounds". Third) One who with so much strength and personality offers the rhythms that in this last movement of "Encantamientos" are remembered through the most popular by drawing them or presenting them openly with their individualities and characteristic accents, some nostalgic, reminiscence in some passages with very subtle quotes and also (why not?) a little humor in some others, pass during this "final movement"; "tribute to rhythms", among which, among others, some typical of our country …

Recording of Juan Blanco's Fantasia en 3 Aguas y 4 Panicos.

The idea of the piece was to make a degree migration between traditional and new sound material with effects that also occur in light music. The 1st movement was played with a western guitar, the 2nd movement with prepared classical guitar (nail file, spoon), the 3rd movement with a concert guitar (natural). The various effects, such as amplitude modulation and reverb, were added later. It follows that this piece is to be regarded as a piece of tape. The musical material is fixed only in the thematic emphases. The improvisation in this suite therefore occupies an important place.

"Chicharra's" is an ode to the Spanish landscape and the men populating this landscape. Sounds of nature such as the breath of the wind, the rushing of the rain, the rustling of the sea carry life in themselves. Thus the rustling of "Chicharra's", the cicadas, their singing narrative was recorded as a set of precious voices. These voices were sent electronically to the strings and then turned into new sounds. This process is comparable to that of instrumental music where the violin bow is coated with coniferous resin to awaken sounds. Thus the buzzing of the fly on my microphone has been transformed into a kind of huge chorus of men. With the poet Schierbeek, I exchanged the Spanish landscapes that we saw and listened to. From there, the poems are born. Poems with the subject of the little donkey, famous because irreplaceable, men work the earth, the thirst, the red earth, the dark wine, the family life and the evenings of Spain. It is the beautiful voice of Lino Calle de Segovia that I chose as an interpreter and it is by kissing the glance, in memory, the mountains of Gadarama that I consider "Chicharra's" as a tribute to …

Halley 86 is a large economy of expressive means, this electroacoustic music work is an image of the following visit to the famous comet Halley. This is also an expressive experience of the dramatic and psychological effects on the audience, pitches and notes. This is the description of a particular situation, a reflection on the desctruction of our day's life. Next to the music, resides the question: will we count in the next century?

It is not possible to describe in a few words a piece that does not have one, but many main ideas, all of them developed along specific trajectories sometimes independent, sometimes closely related. Several images are called to mind the quest for contact with the music, with the timbre, with forms and with poetry between the concrete and gestural sphere of the sounds made by the piano and the abstract, virtual area of electronic sounds. Dialogue and contrast, contact and rejection grapple in a complex universe, where, between fantasy and reality, timbre and harmony merge into a single kaleidoscope of feelings. The tape is solely made up of sounds synthesized with the MUSIC V program and mixed with G. Tisato ICMS program at the CSC at Padua University.

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.

*TIBIA I. *for soprano saxophone and electrroacoustic sounds was composed for a solo instrument and an accompaniment of electroacoustic sounds with the help of the computer program *CCOMP* (Computer COMPosition), which was created also specifically for composition of instrumental and vocal pieces. The basic compositional principle of the program is the use of pseudorandom numbers within defined limits. They are intended to simulate random processes typical of the activity of nature and the human brain. The result is a specific and self-contained compositional style. The electroacoustic sounds were realized in Electroacoustic Studio of Czech Radio in Plzen. In the "Marcel Josse Competition" in Paris (1984) have been awarded with the first prize for this composition and also was performed by *Daniel Kientzy*, an excellent player on soprano saxophone from Paris.

Inspired by the early minimal music of my first teacher, John Adams, "Synprov (for JA)" was improvised at the keyboard of the Synclavier studio at McGill University one day in February 1983 and subsequently decorated and touched up using the SCRIPT program. This was my last piece to use a regular pulse and modal harmonies throughout. The voyage away from and return to the opening repeated note creates a long arch over the piece, which consists of three connected 'movements' (or areas); the traditional fast-slow-fast.

"Laberintmutant" is a work based on the disintegration of the structure that is realized when the ratio between discursive autonomous microelements increases. The work is composed according to a field of probabilities determined by the characteristics of the circuits of the synthesizers and the material stored in the sequencers, which creates coherent acoustic developments in a composition system formed by various layers. A version for four live synthesizers and tape was created in 1984 at the "Festival Internacional de Música de Barcelona".

The sounds for The Art of Flying are realized in the Electronic Studio Radio Belgrade (SYNTHI 100), Institute of Sonology Utrecht, and the Electronic Studios of the California Institute of the Arts (BUCHLA 300). The microphone recordings are made in Arizona and California. The separation between concrete and synthesized sounds is not important any more in this piece. It is a play of imagination.

Wires basic idea is working with large sound masses evolving and changing through the time like a complex flux. Each mass is composed by a great number of single sounds (from 10 to 2/300, the mean is 50 to 100) that can seldom be perceived as "notes". So the way the mass "sounds" depends on parameters like frequency range, density, durations, attack, time, and spectra of composing sounds in a sort of granular micro-polyphony. I composed Wires defining the masses evolution at high level by means of tendency masks, using my computer assisted composition system, called ALGEN to generate the low level instructions controlling the single sounds that has been synthesized by a simple FM algorithm. Wires was realized at the "Centro di Sonologia Computazionale" (University of Padova) using the MUSIC360 software for digital sound synthesis.

"Voiles" is a series of textures, or walls of sound, that acts on the listener as an invitation to explore an environment where one can discover new acoustic sensations. The texture, a sustained chord of usually 14-56 notes, is constantly transformed by the change of instrument that articulates the sound (for example from strings to voice, brass, piano, marimba, glasses etc .. .). No electronic effects were used but only direct recording and mixing of acoustic instruments. However, the sound source or the type of instrument are at no time obvious to the listener, hence the "veiled" sound sources. This veiled sound is created by three main factors: the multitrack (180-280 tracks of the same instrument and used at each moment) tuning chords which is new "microtonal" intervals that do not exist in our system of 12 tones and the recording method where the microphone is very close in a dead acoustic space, which highlights the aspects of each type of instrument that we do not normally hear. The title is also an analogy with a real veil where one can see each of the threads or the whole weaving. In "Veils" we imagine that the listener can jump from …

Recording of Michal Košut's The Cathedral in Coventry.

Stiriae was my first substantial piece of electroacoustic music, composed in the Electroacoustic Studios at the University of East Anglia. It was joint winner of the CNM/France Prize at the Bourges Festival of Electroacoustic Music in 1985.

The work was completed at the Finnish Radio Experimental Studio in 1984. The sound sources for the piece were an electric guitar and the singing voice of the composer.

Recording of Josef Anton Riedl's Landschaft Beschreibung

Electronic compositions Arcanum [Secret] is based on a computer-generated score and a defined distribution function which were utilized in the construction of the compositions. They use precise tone heights in the microtonal interval systems on the basis of characterized tone clusters and alternating chords. Arcanum uses tone pitches given in frequencies in bound positions from 50 to 5,000 Hz. Couples of random numbers limited by the interval from a major second to three octaves became the first and the tenth tone of the desired block of sinus tones. The other eight tones were put in regularly or at random according to a defined distribution.An electronic computer composition Arcanum lasting 12'2" min., has been created using selections from fifty such groups of sinus tones and their arrangements.

The title of this piece evokes both the "solitary" aspect of the one that one could imagine the interpreter (singer, modulator, ...) and the "two-dimensional" aspect, "dialogue" (almost all the piece is known in two layers, the second being made from transformations, shifted in time, of the first one, so that there is a work of variations both "stationary" - ("simultaneous" - "synchronous") - and "in time" - "successive". All the musical material derives from a single note (see title ...), which undergoes many variations of timbre, of "presentation", and which is often only a pretext for elaborations more complex (see, for example, the second part, where the soil is only the "reference note" the "tonic" of a complex harmonic system). The work was realized at the Studio of Electronic Music of the Research and Training Center Musicales de Wallonie, Lige, in 1984/1985. It exists in two versions: 4 tracks / 2 tracks.

Where we speak, of course, departure, travel, farewell ("Leaving is a little dying ..."); but also of escape, of pleasure, of initiatory journeys, of imagined space and, again, of loss, oblivion, absence, "little death" and "great journey". It is not irrelevant that this piece was created in Marseilles, among the remains of the ancient Phocaean port; the first movement is a quick allusion to this journey back in time. The sea so close, inexhaustible and plural symbol, was to be present. She is, stubbornly. The wave proposes its energetic law to the whole and to the element: flow / reflux, growth / decay, appearance / disappearance. The concrete slides towards the abstract and then reappears. Points of anchorage in the real and furtive evocations (heard or guessed?) Emerge here and there. The origin of this work lies in an earlier piece, Vanishing Points, which she develops and which we find elements in the movement 4 (Theme of the flight). This movement constitutes the "peak of the wave" formed by the curve of increasing and decreasing durations of the nine movements. Some milestones for this route: 1- (2'04) Marine. Opening. Massalia / Marseille. 2- (3'32) Preliminary mapping. Generic, first lines, volume …

Electronikus Mozaik ("electronic mosiac") for stereo tape was commised by the Hungarian national film production organization, MAFILM, for a first performance in Budapest in May of 1984. The work was realized using digital sound generation facilities, in particular the Yamaha DX-7 synthesizer, at the Queen's University Electronic Music Studios in Kingston, Canada. The piece was conceived as a sonic analogy to a visual mosaic. Points of sound with various colors, or timbres, correspond to the bits of colored stone found in the visual mosaic. The sonic colors are worked into variously similar and contrasting rhythmic contexts intended to encourage the listener to move his/her mental focus among the larger and smaller levels of structure but to find coherence and, in particular, continuity at each of these levels. At the micro levels of the work the richness and variety of the individual points is meant to attract the listener's attention, while the macro levels comprised of interwoven streams of points merge into structures which are meant to engage and hold the listener's attention.

Written for two analog, polyphonic and programmable synthesizers. This first sequence is a bit like a traditional sonata at the level of the spirit that governs the 4 movements that compose it as well as some formal concerns. However writing for synthesizers is a matter of instrumental design is typical to this instrument all that concerns the sounds used as the game modes, especially the systematic use of filtering as a game element or "montage" programmed sounds.

This piece for magnetic tape is - from several points of view - a confrontation of various worlds. First of all, on the music-technical level: the production process. The means of the classic studio, the manual aspect of the work on one side, the generation of basic sound materials on the other side. In addition, the piece is a confrontation of concrete sounds and electronic sounds.The complex spectrum of the human voice is used in this case as a "plastic algorithm" of great flexibility and considerable variability. A hybrid, quantitative analysis results in information that is used by the program to make decisions for controlling a program outside the computer. The program conceived and developed by the author (Oscar, acronym for Oscillator Artist) allows a complete navigation between one-to-one relations and a completely automatic algorithmic synthesis, in the human dialogue-to-machine. This piece was designed for tape but performed with live performance procedures. The piece uses some FM sounds recorded at the Studio of the University of Toronto in 1979. The piece was made in the private studio of the author. The final mix was performed at the IPEM studio, Ghent, in November / December 1984.