Recording of Geurt Grosfeld's "Wals van kwart voor middermacht" for tape.

Quarterly publication discussing various topics in environmental ethics, including features, discussion papers, book reviews, editorial commentaries, and other text related to environmental philosophies. Some issues also include announcements and other news related to the environmental studies community.

Quarterly publication discussing various topics in environmental ethics, including features, discussion papers, book reviews, editorial commentaries, and other text related to environmental philosophies. Some issues also include announcements and other news related to the environmental studies community.

Quarterly publication discussing various topics in environmental ethics, including features, discussion papers, book reviews, editorial commentaries, and other text related to environmental philosophies. Some issues also include announcements and other news related to the environmental studies community.

A faculty recital performed at the UNT College of Music.

Quarterly publication discussing various topics in environmental ethics, including features, discussion papers, book reviews, editorial commentaries, and other text related to environmental philosophies. Some issues also include announcements and other news related to the environmental studies community.

An adult female sculptural figure leads a group of youngsters with outstretched hands across rocks and water.

The group of figures comprising a sculptural fountain are depicted in bronze.

The figure of the woman is detailed in this view. Her arms are outstretched and she wears long clothing.

Two youngsters appear to be following and have their arms out stretched.

A young boy runs with out stretched right arm.

The title of the composition is taken from a line by Cicero, "toto pectorum tremens" ("the whole breast trembling"). The main musical ideas in this piece are all related to the act of trembling as a response to some basic emotional state such as anticipation, fear, panic, exhaustion, etc. In order to expand the timbral palette of the pieced material, I have incorporated into the composition synthetic, unpitched sounds such as wind, breathing, and large, struck sheets of metal. During the course of the work the Bach choral melody "Was bist du doch, o Seele, so betrubet" appears. The harmonisation is mine and the choral setting is intentionally left incomplete. This composition was realised at CCRMA under an "artist-in-residence" gnat from the Rockefeller Foundation. The composer would like to thank Bill Schottstaedt for the use of his FM instrument, which was used to generate most of the sounds in this piece.

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.

This is the result of an exploration of writing in space, in this case for the speakers placed in an arc forming a sound screen of 150 'to 220' aperture. This piece is also the result of an exploration of electroacoustic writing. 6 movements the structure: 1. Opening, solatonic less than a minute. 2. Around rain, or shudder of a more neumatic writing. 3. Duo where the bottom engulfs the soloists to merge into the fourth movement. 4. Explosions, tears falling in tessitura. 5. Heart of music for percussion and synthetic choir 6. Coda, rain, oblivion ...

Oro, Argento & Legno ("Gold, Silver & Wood") is once again a large-scale work, this time for flute (or rather for flutist, who is asked to play not only a regular flute but also an alto flute and piccolo) and computer. It is a virtuoso work requiring a great deal of technical precision and agility from the flutist who at the same time is given ample opportunity to display his powers of musical interpretation. The form of the piece approximates a freely transformed and re-interpreted symphonic concerto with five major sections, played without pause, each having its own textural, timbral and rhythmic characterization which contributes to the shape or curve of the composition conceived as an organic whole. The major unifying force across the sections is the intervallic material played by the flute, derived by means of a rigorous adherence to the composer's highly flexible dyad system. This system furnishes not only the flute part but also the basic generating intervals for the electronic sounds. The flute's intervals are transformed into the electronic sounds by various methods, with the result that there are (at least) two versions of the same fundamental musical material going on all the time, a kind …

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.

This is a real-time performance of computer. This piece's "Structure" (changing with time of the density of sounds, distribution of sound-frequency, character of the sound-space, etc) was decided by translation and adaptation of the results of Monte Carlo simulation about the ecological concepts -birth, growth, death, etc-. It's used here to suggest a systematic but multiply stimulated study of materials and their organisation. Many scales and tunings consist of re-construction of the frequency-values as the results of random operations. And this scales change with time.

When asked to compose a piece for an all-Samuel Beckett concert in Los Angeles (including works by Cage, Dodge and Gnazzo), I determined not to act a text of the renowned existentialist writer but rather to sample his voice and manipulate the recording to formulate the substance of the music. Upon learning that Mr. Beckett does not permit his voice to be taped under any circumstances, I proceeded to record the lobby of his apartment building in Paris, the open-air Metro stop across the street, a sound poets' dinner later the same evening and two young girls watching a mime act at the plaza near the Centre Pompidou. Added to this were the bells of Notre-Dame Cathedral, the crying of a precocious baby, a sound sculpture, some extended-technique electric guitar sounds and a selection of sonic bodily functions. The result is an impressionistic cyclical narrative sound-portrait, touching on various aspects of Samuel Beckett's life. For a full description, please refer to "Pâte de Pas de Voix" in Perspectives of New Music, volume 26/s (Summer 1988). The treatment of ambient sounds was performed in the Synclavier studio of Henry Kaiser in Oakland, California. Most of the sounds originally were recorded by …

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.

A group of several bronze greyhounds with a green patina are installed out of doors.

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