Recording of Orlando Jacinto Garcia's 3 pièces pour double basse et bande. Was written for bassist Robert Black and completed in the summer of 1990. The tape part was made using the bass player's recordings of brief musical pieces (i.e. tremolos, harmonics...) which were then digitized by the composer, sometimes transforming and mixing the material in layers of sound. The second of the three pieces is characteristic of a genre of glissandos, register changes, and also long holds both on tape and for the live double bass part. Great care as to the correctness of tone and the control of timbre is necessary on the part of the double bass player.

Recording of Cornelis Tazelaar's Abrasch. This piece is made entirely with the Granular system's output as a sound source, but is not a pure granular piece due to the program used to make it.

A very short but important piece. It was the last composition produced in our old studio (the one offered by the Di Tella Institute that you visited at CICMAT in 1974). The pointillistic piece and its editing is done exclusively by means of tape bonding and sounds from the Arpe 2600. Pozzati, in my opinion, is our best talent. He made his song as a farewell to the old studio which is now replaced by two NeXT machines. He is now one of the people working with the new programs at LISP, in use with these computers. The piece was composed in 1990 in the former LIPM laboratory, just before it was dismantled in March 1990. The sounds were produced by an Arp 2600 synthesizer and resonance filters designed in 1966 at the University of Buenos Aires. The work has a complex rhythmic structure which uses logarythmic and exponential curves. Its high speed attempts to conceal the origins of the sound sources and the transitions used between them. The work is of a humorous nature which conceals the melancholy engendered by the disappearance of the 23-year-old laboratory.

Recording of Georgiĭ Dmitriev's Adojio for Upic.

Recording of John Duesenberry's Agitato (Ergo Sum). The piece is comprised of six sections, each around the same length. This electronic piece uses a "hyper-flute" sound, trying to accurately mimic the sound of an acoustic flute while also exceeding it in its physical capabilities.

Recording of Jonty Harrison's ...Et ainsi de suite...

Recording of Ake Parmerud's Alias. Alias is inspired by the thoughts on the relationship between the composer, Gesualdo da Venoza, and his art. composed of two opposing movements, the first of which is based upon a fragment of a love-song by John Dowland (contemporary to Gesualdo) has been deconstructed, processed and reprocessed into a set of variations output in a linear fashion. The traditional lute-part has been strongly stylized into a chord comprised of the note A-1 and the first 16 harmonics on top. The function of the plucked string sound is however essentially the same as the traditional lute-part. The second movement is an attempt to sketch a slightly surrealistic picture, This is done using quotations from some of Gesualdo's late motets and occasionally blending with them a Dowland lovesong.

Recording of Marie-Hélène Bernard's Alice au pays des succcubes. This piece is a three-part piece in tribute to Lewis Carroll. The three parts include; "The well must have been very deep, or her fall had to be very slow, for she had plenty of time to look around her and worry about what was going to happen."; "She found herself in a long, low corridor, lit by a row of lamps hanging from the ceiling; there were doors on either side of the hallway, but they were all locked"; and "In her life she had never seen a stranger croquet ground; hedgehogs served as balls, pink flamingos as mallets." This piece is an eerie journey and explores the possibilities of electronic techniques and orchestration.

A recording of John Celona's Also ran.

Recording of David Little's, Alter-Natives for zwaanenburg alto flute, live electronics and tape. This piece explores the possibilities of sound manipulation. The sounds you hear have been; added to, subtracted from, mixed, reversed, turned upside down, cut up, stuck together again, layered, echoed; the possibilities are endless.

Frequently, the motivations that push the composer to write a work are absolutely extramusical. Regarding this, the appetite to compose was aroused in me by the impression that produced me reading the sentence: "And I too am a painter" attributed to Corrège, who would have pronounced it in front of Raphael's 'Sainte Cécile' in Bologna.

The different sound materials of the work come from commercial synthesizers (DX7 / D50). The SAMI (Computer Assisted Music Support System), developed by Bernard Donzel-Gargand and Adrien Lefevre (IRCAM), allowed me to create this music. This instrument offers various access commands such as: - joy-sticks, - photocells, - pedals, who can each, according to our imagination, drive real-time music parameters (change of timbre, velocity, frequency according to modes, ranges, series, tempo, speed etc ...). The final version of the work is the result of mixing a 3-part score. An Arcane is a mysterious, secret operation of alchemists. Are we not alchemists of the sound world, we musicians? Eleven is, for the Arabs, the number of the knowledge of God, which passes through 11 stages: - the will corresponding to self-control, - abstinence and music that bring purification, - time, stage of the wander between self-awareness and God, - the image of God reflected in every creature, - the end of worry, - perfect tranquility and permanent ecstasy, - the outburst out of oneself, - the possibility of going up to God, - the loss of the will, - the return trip with God, - permanent contemplation giving the power to …

Recording of Satoshi Sumitani's Arcturus.

This piece exploits a voluntarily limited sound material, opposing two types of sounds: long and very short sounds. This material was generated at the Pascal* studio of the CRFMW in Liège. To obtain an enlargement of the sound palette, the sounds once generated have been reworked at the Arion studio** of the same Research Center. Arion therefore produces no sound, it only affirms, punctuates, or rather nuance, modulate Pascal's statements. Each of the two studios is entrusted with a specific musical action. The shape of the piece is both symmetrical and progressive: symmetrical in the succession of elements (short-held hold-sounds), progressive in the slow passage of the original material towards its transformations. * Pascal is the new digital studio of the Musical Research Center of Liège ** Arion is the analog studio of this same Center

Recording of Manuel Rocha Iturbide's Atl. This is a work for digital tape, and the sound of the piece were made digital audio software Turbosynth and Sound designer. It was mixed down in a 24-track studio at the Center of Contemporary Music of Mills College. The composer states, "By means of transforming and working with the same sound object, I arrived to the conclusion that I could open and reveal it through time. The methodology of working with only one sound would define then the structure of the whole piece, and would give coherence to the composition in terms of timbre. My first experience in this direction was with my tape piece ATL, where I made all the sounds except one, starting from the manipulation of a 7 seconds sample of a small water stream. Other composers have made pieces with water sounds which are very compelling, but non that I know have made a spectra-morphological research about a portion of a water stream sound. In this way, all the micro-characteristics of the original sound object as it's chaotic rhythm and its hidden spectral qualities are enlarged. In a way, this works exactly as fractal theory in Chaos, where micro …

This work was done by means of an IBM Music Feature Card, installed in a PC computer. "Batimentos" is a study a single sound. This sound has some of its partials slightly detuned, causing periodic variations. Because of their different rate, beatings are perceived as rhythm at lower frequencies, and as a roughness at high frequencies. Continuous changes in the detune procedure result in acceleration and deacceleration processes. The piece also explores density changes, and interaction between binary a ternary rhythms.

Recording of O. Powers' Beta Cygni. The piece was composed in the computer music studio of California State University, Northridge, California. The work is a free-flowing journey through imaginary realms of sound, where the speed, density, and timbre of events are the primary compositional ingredients.

Recording of John Rimmer's Beyond the Saying. This work transforms a recording of the composer saying the phrase, "You reap what you sow". There are five main types of sounds. These sounds include a brush stroke-like gesture, arch shapes of sine wake-like sonorities, stretching in time of individual words, diphthong sounds, and displays of percussive consonants. It was composed at the Computer Music Facility, Centre for Arts, Simon Fraser University in Vancouver, Canada.

Cornelia said to me, "Oh! this sound, I keep it - But it's mine! - Yes, but every time I hear a sound that I like, I put it aside for my collection, and I call these sounds my jewels ". I saw then in UPIC only a machine to draw or to geometrize the music. Cornelia, by her words, led me into a different mode. Imagining a very simple score, cutting into his living flesh and extracting a complex wave that could provide subtle timbres and dynamics, became a children's game surprised to manipulate in his fingers the "jewels of Cornellia". Excerpt from Imaginary Memories "by J.E. Marie

"Delusional episode of short duration, bursting suddenly in a subject with a certain mental fragility." Larousse Dictionary My first attempt to make cinema for the ear. A beginning of scenario: a being who looks for himself dark in a fatal delirium. This piece would be divided into two parts: escape / isolation and fantasy / delirium. This scenario fortunately exceeded, I decide to focus on the internal space and its relation with form. I want to thank Francis Dhomont, Kevin Austin and Pierre De Gagné. This piece was made at the studios of Concordia University and the University of Montreal.

Recording of Adrian Moore's Breaking......Glass.

Recording of Rudolf Růžička's Bucina. "Bucina" (Bugle) was composed for solo instrument and an accompaniment of electroacoustic sounds with the help of the computer program "CCOMP" (Computer COMPosition) which is specified for composition of instrumental and vocal pieces. The basic composition principle of the program is the use of pseudorandom numbers within defined limits. They are intended to simulate random processes typical for the activity of nature and the human brain. The result is a specific and self-contained composition style.

Recording of Ronald Philippi's Buenos Aires.

Recording of Robin Bargar's Business as Usual.