Voie Lactee is a work in four movements (A ? 3:06, B ? 5:53, C ? 9:00, D ? 11:05) meant to depict the fast-changing galactic multitudes of the Milky Way in tandem with reflections on the drama of the human condition. The work owes its title to a recurring stanza in G. Apollinaire?s Chanson du Mal Aime (1904): Voie lactée, ô soeur lumineuse Des blancs ruisseaux du Chanaan Et des corps blancs des amoureuses Nageurs morts suivrons-nous d'ahan Ton cours ver d'autres nébuleuses. Throughout, at least two opposing tempi define the flow of the music. Percussion-punctuated flow in the second movement is followed by more song-like articulation in the third, and by a coda with the sense of finale. Technically, the piece combines score synthesis with sound synthesis. Score synthesis is based on Koenig?s Project One ? not typically used for electro-acoustic music - , while sound synthesis makes use of Dean Walraff?s MUSIC1000 orchestra language, a variant of CSound. I want to thank Dean Walraff for his generosity of opening his studio to me, and composers Pamela Marshall and Curtis Roads for their technical support. Performances include Hartford Public Library 1984, Intern. Computer Music Conference Vancouver (1985), Connecticut …

Recording of Horacio Vaggione's Fractal C.

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.

I dedicate this piece to all those who do not remain indifferent to the plight of others, to all our friends granting us their support, if only in their thoughts. I would like this expression of thanks for the assistance and solidarity to be accompanied by a message: make sure that our minds are not conquered by deceptive ideologies. - Bohdan Mazurek

This work was realized at the Institute of Sonology in the Netherlands and premiered in Tokyo in 1984. The tape part was created with real-time computer sound synthesis techniques, and real-time computer transformations of sections of the harp part. Two PDP-15 computers were employed in this process. For the real-time sound synthesis, the "PILEM" application developed by Paul Berg was used. The signal processing programs were written by the composer in FORTRAN and Macro Assembler. This work won First Prize in the Mixed Electroacoustic Music Category at the 13th International Electroacoustic Music Competition of Bourges, France, and was selected for performance at the 1998 International Computer Music Conference in Cologne.

Points was realized on a VAX 11/750 computer at EMS in Stockholm. Most of the source material was generated with a program called Chant. This program is especially designed for synthesis of the human voice, and developed at IRCAM in Paris, by among others like Xavier Roder. The material has then been processed and structured with a set of different "processing-programs".

This is a personal recollection of a Paris which I never knew. It is an anecdotal remembrance of Jean Baptiste Joseph Fourier with more then a nod to Raymond Roussel and filtered through the radio of Jean Cocteau’s taxi. This is the Fourier of the mathematical memoir, On the Propagation of Heat in Solid Bodies, a somewhat controversial view at that time in which the author described the diffusion of heat by a partial differential equation which could be solved using an infinite series of trigonometric functions. The equations for Fourier analysis as it has since become known, also turned out to be very useful in the analysis and resynthesis of sound (which is very much like slow heat), and as such could be described as an infinite series of sine waves of different amplitudes, frequency and phase. Joseph Fourier was also the scientific advisor for Napoleon during the French invasion of Egypt in 1798. Beside his papers on mathematics, Fourier spent several years writing the Description of Egypt in 25 volumes and which Napoleon extensively rewrote, essentially changing history before it was allowed to be published. With its second edition however, Napoleon himself had become written out of the …

This work was composed at the Ontario Science Centre in Toronto as part of an Artist in Residence program. Inspired by Webern's Six Bagatelles, the piece seeks to travel far in a short period of time. The sonic textures build and change rapidly and sounds transform restlessly. In just over three minutes, an entire series of complex statements are quite complete. Composed on 16 tracks, with some sub-mixing employed, a large selection of digital and analog synthesizers were used. The mix is, however, ultimately homogeneous, while stretching the dynamics of the analog recording process to its limits.

Recording of José Manuel Berenguer's La Logica de la Sorpresa.

"The Eternal Lake" is a musical poetic work. The sound material consists of vocal and instrumental, electronic and environmental sounds, intelligible speech and non-verbally treated voice. Music and fable are amalgamated: while the musical component maintains its independent logic, it also wraps itself into the fable, while the fable spreads into the musical domain by the use of verbal structures. In order to maintain intelligibility, the verbal part is practically never sung, while the sung part does not contain semantized words. On the other hand, meanings are also conveyed by non-verbal voice sounds and environmental sounds, and the text is given musical characteristics by accentuating its phonetic properties, rhythm, polyphonic treatment, and densification and rarefaction typical of musical structures. The musical fabric is organized on the principles of hyper-polyphony, making equal use of all sounds parameters, including dynamic and timbral envelopes. Transitions between musically organized segments and environmental sounds correspond to alternations between sleep and wakefulness. Rather than showing life as a dream, this garland of dreams depicts dreaming as another life, but also as a strangely distorted reflection of waking life. The door of sleep sometimes opens a crack so that the dreamer's senses receive auditory manifestations of the …

Lollipops was inspired by a sculpture of Alexander Callers', entitled Lollipops. The Calder suspends 4 large multicolored steel "lollipops" from a large red steel foundation. When the wind blows, the lollipops are motivated to sing as steel does against itself. The extraordinary combination of the colored lollipops with their association to surreal and child-like things; the unyielding drama of the cold steel structure; and the wistful song of the steel, gave me a profound feeling of something both beautiful and violent and essentially defendant on each to be. It is with the idea of an "excruciating beauty" and becomes fantastically close to it the the Lollipops as a metaphor inspired. I make no attempt to imitate the sound of the sculpture, but rather, it is the metaphor that I am interested in and the feeling that embodies the essence of it.

This work was made from basic material taken from human voice and electronic sources and was ended at the beginning of 1984.

"All animals always hear. To hear is the fundamental involuntary activity that initiates experience of the external world. But hearing is not listening. Only when the flow of hearing is interrupted by attention does listening occur. There must be desire." (Philip Oxman : 'From Hand to Mouth' (BBC/1978)) Time Past III was realized between July 1983 and December 1984 in the Electroacoustic Music Studio at City University, London. It is dedicated to the memory of Philip Oxman, whose ideas inspired and motivated its composition. Natural sounds - a stream and a beehive - form the basis of two drones, while others are created from shorter natural sounds processed by the Fairlight CMI, as well as one based on electro-mechanical resonances of a double bass.Time Past III quotes ideas from other works in theTime Past series. The work is a journey through sounds and textures, moving between nature and artefact, present and memory. My special thanks to Sue Bickley (voice), Peter Jones (bees) and Lise-Martine Jeanneret-Oxman (The Mill House stream). Time Past III was first performed at a concert of the ElectroAcoustic Music Association of Great Britain (EMAS) at the Institute of Contemporary Arts, London in December 1984. It was revised …

"De Wang" is a monologue set to music and wants to emancipate the "sound" at the same time. The piece is a musical reflection on isolation (and psychiatry) as a political remedy and as a reflection on musical aesthetics. The specific use of psychiatry and the treatment of prisoners shows how an incumbent government can deal with its contentious elements. Sensory depravation, (isolation), electroshock, medical treatment, psychosurgery, in fact new means of torture that are not yet recognized as such. This work includes "pure" sounds in their raw form, which have not been blurred by aesthetic standards. FNME Prize (awarded to composers under 35 years old) of the XIVth International Electroacoustic Music Competition of Bourges.

Recording of Hiroaki Minami's Four Nocturnes.

Houdinism (1984) is a 12'20 "command of Swedish radio, an example of Lindgren's anti-sentimental side, and Houdini, the master of the escape, was the man who was locked in boxes with "infracturable" locks and chains, and of course he managed to escape from his freely chosen prison and was given the honorary title of "Master of the Escape." Lindgren's work is a complicated device with small and large "sound boxes" that are open or closed Depositif is designed to use a planar geometric system in which the opening and closing frequency of each of the boxes is controlled by a mathematical sine function. upper control level of the wave is a hierarchical system of proportions.The proportions of the soundboxes are decreases and the increases of each of them.what looks like chaos is a structured reality of how The expression is absolutely the opposite of rhetoric. It can easily be said, as Lindgren himself says, that music speaks for itself.

On December 7, 1975, Indonesian troops attacked Dili, the capital of the Republic of East Timor, thus ending the Timorese people's brief but brave period of independence and beginning an era of savage colonialism that continues to this day. Concerned Australian supporters of Fretilin (that East Timorese resistance army that is still waging a bitter guerilla war against the Indonesian invaders) hoped for many years that the next Labor government in Australia would honor its pledge and bring pressure on the Indonesians to allow the people of East Timor to determine their own future. But when the government under Prime Minister Bob Hawke came to power it reneged on its promises, leaving Fretilin to fight on without even psychological support. In common with many Australians, I was outraged by my government's sell-out and resolved to offer what support I could. This took various forms, including the composition and performance of this piece; "Venceremos!" is an expression of solidarity with the people of East Timor designed to bring attention to the situation and to encourage others also to offer support through whatever means possible. Some of the music is an electronic realization of a Javanese trance dance, symbolizing the advance of …

The first three text fragments were inscribed on pyramids between the years 2350 and 2175 B.C., the fourth text fragment is the remains of an ancient Babylonian penitential pealm. The electronic sounds accompanying the text are fragments from four sections of another composition, Tetrachotomous for piano, violin, cello, and tape. In the epilogue, the text fragments are transformed into electronic sounds which are immersed into a texture of harmonic fields. Time and chance have worked on the materials, not only to corrode but to create new structures, new forms and new values to attract the mind. This work was composed for the Radio Canada program 'Alternances'.

Recording of Tera de Morez Oyen's Dances of Illusion.

The sea is always moving, waving and roaring, fast or slow. Sometimes green or blue, dark or light, warm or cold. In the same way my mind is constantly in commotion. In my head, in my ears, inside myself. I tried to reflect these thoughts in this composition. The basic material is a recording of several percussion sounds, which are modulated electronically by a synthesizer, a Publison Harmonizer and a EMT 251 digital reverb system. The last one is a splendid machine for special effects, which I used in another way than the common way. The tape has been realized in the electronic music studios of Radio Hilversum.

La chambre secrète is the first piece for a 9-voice musical ensemble composed after the work of Alain Robbe-grillet. It uses a small part of original text, principally three fragements in evoluationary connection with the figure of man and his situation in space. These threeThese three fragments, in turn, cut up, exploded become generators of sound forms and also of new meaning. The structure of the piece is determined by the principle of moebius: closed loop on itself, but whose contained exploration reveals two different faces. These three fragments, in turn, cut up, exploded become generators of sound forms and also of new meaning. The structure of the piece is determined by the principle of moebius: closed loop on itself, but whose contained exploration reveals two different faces. The origin of the sound material consists of three readings of the original text by Michaël Lonsdale. The sentences or fragments of sentences retained in the elaboration of the piece are often reconstructed from these oppositions, the different syllables of a word being able to belong to one or the other of the three versions. . This process of recomposition opens perspectives of a musical work on the voice which is located …

These two sections, each separately, are part of the work composed for a ballet called "Song of Creation", based on the link of St. Francis of Assisi. The first part (opening) depicts St Francis of Assisi, sitting alone, sick in the dark. The second part (Prayers) is based on Psalm 141 "Lord, take my soul out of this prison, so that I pray ... Make every cell of my body reach you ...".

Recording of Arthur Kreiger's Fanfare and Chaconne.

It is a mixed piece for percussion and electroacoustic support. This one was realized in 1984 at the Berlin Technical University Studio with technical assistance from Folkmar Hein. The CD interpretation is performed by percussionist Martin Schulz. From a formal point of view, the piece divides into two different parts. The first is a permanent game on acceleratins, with the evolutions of a serious bell-shaped sound as alternative of speech. The second feeds on the musical gestures of the first, arranged in an open spatial context and very spread out. Percussion fuses totally with the electroacoustic medium, giving rise to a real perceptual unity. The electronic materials of the support were produced with a Synclavier and an ARP synthesizer. The Doppler effects at the beginning are produced by devices developed by the Berlin Technical University Studio.