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

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.

Recording of Annette Vande Gorne's Action/Passion. It is the result of a close collaboration where choreography and music were designed in interaction. The work is inspired by inner energy and its manifestation: movement. During the show, the dynamic movements of the sounds unfold in the space thanks to a spatialized interpretation. Music and dance play on very contrasting energies such as breaths, fluids, attack/immobility, attack/movement, rebounds, journeys, falls, crushing, rotations, oscillations, flights; causing so many stages of a sound metamorphosis of matter into movement.

Recording of Daniel Scheidt's Obeying the Laws of Physics. This piece establishes an interactive situation made up of four regions of timbre - each representing a family of instruments. The percussionist explores each region and controls the transitions from one sound area to another by playing certain patterns derived from percussion playing techniques. Obeying the Laws of Physics was commissioned by Trevor Tureski with assistance from the Canada Council for the Arts (CCA) and premiered by him in October 1987 at the Banff Center for the Arts. This recording was made at Luscar Digital Audio Studio at the Banff Center for the Arts in July 1990.

Recording of Elżbieta Sikora's Rappel II. Rappel II was written between June 1987 and June 1988. The work is made up of various modules: evolving, they meet in ever-changing configurations. in bits and pieces, melodies, in their anachronism and their sometimes decadent rhythms, making their way through increasingly thick sound screens, until they disappear forever in the final crescendo. A fairly brief first part in which the elements are stated. A sequence with a defined rhythm, accentuated, begins the second part: under all light and in other times, it is the recall of the previous one. They are played without interruption. The technical process of transformation in real time, adds a coloring and an enlarged spatialization of certain sounds and sound groups.

Recording of David Keane's Epiphanies. Epiphanies is a work for solo English horn, the sound of which controls a Yamaha CX5M music computer by way of a Pitchrider (pitch-to-MIDI converter). The timbres are changed by the performer using a foot pedal, according to a pre-programmed schema. This procedure allows for the power of computer re-sources, but the flexibility of live performance. Although the character of work is meant to be that of an unaccompanied work, the CX5M voices have been designed to blend with, extend, and transform the sound of the English horn I a variety of ways. The title suggests the subtle and sometimes magical qualities that can suddenly present themselves and just as suddenly disappear. The original form of Epiphanies was created in February-March of 1987 using the resources of the composer's personal electro-acoustic music studio in Scarborough, Ontario. The work was commissioned by Vancouver recorder virtuoso Peter Hannan with the assistance of a Commissioning Grant from the Canada Council. The score and the voicing were adapted for English horn in 1990 for Lawrence Cherney. The premiere of this version of the piece was given on 1st December 1990 at the Music Gallery (Toronto).

Storm-song, as the title suggests, is concerned with two very different forms of musical material: 'storm' - tempestuous, dramatic and sometimes violent music with a strong sense of forward movement and goal orientation; and 'song' - a more lyrical, melodic aspect suggesting stasis and rest. These two ideas are developed through opposing musical means. For example, 'storm' is characterised in the tape part mainly by noise-based sounds, whereas 'song' uses more pitched material. Similarly, in the piano part, panchromatic 'storm' music is contrasted with much more modal writing for 'song'. Although the contrast between these two ideas is central to the work, they are seldom heard in isolation; rather, a dialogue is established in which elements of both types of material take part, each drifting in and out of the dominant role, this relationship itself being mirrored by the interplay between tape and piano. Storm-song was composed during the spring and summer of 1987 in the Electroacoustic Music Studios of the University of Birmingham, England, and was commissioned by Philip Mead with funds from Northern Arts. It was awarded a Mention in the 15e Concours de Musique Electroacoustique de Bourges, 1988, and in the same year was selected for the …

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 …

An electroacoustic composition inspired by the poem of the same name by Guillaume Appolinaire (some fragments of the text have been used in the composition). Besides the recital, in the composition used the follow elements: vocal sounds of a classical and jazz woman-singer, electrical drums TAMA, drum-computer Roland TR 808, the gong sound; other sounds are originated by the synthesizer. The description of the technical equipment as well as the synthesizer type are adduced in the Application Form.

"Credo Epochula" was composed with basic elements that are computer-generated percussion, spoken voices produced electronically and naturally. With the exception of some brief notes by Joyce Cary, the text is original.

Recording of Oskar Sala's Hindemith Trios, Concerto.

Arghanum (Gk. organon), arabic name for the byzantine organ. according to Ibn Khurdädhbih, writing in the 9th. c., it had bellows of skin and iron, and the word "arghanum" was interpreted as meaning 1000 voices. Arghanum IV uses a technique based on remembrances, mostly achieved by extracting materials from earlier compositions by lanza. Arghanum IV takes materials from the vocal pieces Penetrations VII and Ekphonesis V [written for and recorded commercially by Meg Sheppard]. The work also uses sounds taken from the percussion pieces Sensors I and Sensors V. Arghanum IV also includes instrumental, industrial and human sonic events rescued via sampling from the recent past. The tape part was realised at the SHELAN studios. Some digital sound processing was done with a Synclavier Digital Synthesizer, at the EMS, McGill University.

For soloist, synthesizers controlled by MIDI and multi-channel audio system. Premiere: Cycle " En Torno a los Sonidos Electrónicos", Museum of Contemporary Art Rufino Tamayo INBA 1988

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.