Recording of Tera de Marez Oyen's Ambiversion performed by Harry Sparnaay, bass clarinetist.

In 1982, the composer began his third massive theatre entitled The Scratch Project: Arcts. The fours acts are: Testimony; Antiphony VIII (Revolution); Pentagon/y; and De/bate. They are variously concerned with war marking, violence, force, male-sexuality, and the social dysfunction(s) of argument. Concerning Antiphony VIII, the work herewith submitted: Antiphony VIII is regarded by the composer as a theatre, in which a percussionist functions as performer, acrobat-actor, and dancer. A complex score is played from memory on 40 percussion instruments made of steel and skin. Steel represents death, skin represents life. The performer is asked to experience four changes of state, namely: denial, indifference, fire-with-fire, uncertainty. These states reflect certain current societal attitudes toward Nuclear War. Following is a brief scenario: The performer enters from stage right, clicking his drumming sticks very softly. He approaches an oblong set-up, 8' x 16' (cf. score for layout); lifts up a high-hat in order to enter it; puts the high-hat back down ("imprisioning" himself, thereby). He plays out the aforementioned psychodrama. Synchronously, he is bombarded by tape events which also pit death-like sounds with life-like ones. Eventually, he loses his sticks, (a life-line for professional percussionists); resorts to playing with his hands (skin on …

This audio recording documents Blaine Dunlap driving and reacting to a radio program.

This audio recording documents an actor reading a script for a voice over for an unknown film project.

Jazz Lecture Series presentation by Bobbi Humphrey on March 3, 1983 at 9:30AM at the UNT College of Music. Includes lecture and performance by Bobbi Humphrey, interspersed with questions from the audience.

Jazz Lecture Series presentation by Bobbi Humphrey on March 3, 1983 at 2:00PM at the UNT College of Music. Includes lecture and performance by Bobbi Humphrey, interspersed with questions from the audience.

Recording of Larry Wendt's Broken Crystals, from "World-Class Technology." It is an extended narration piece that takes the form of a personal recollection. It is narrated by a Silicon Valley worker who works for an integrated circuit foundary that grows garnet crystals for the manufacturing of bubble memory. The factory is overcome with insects that destroy the crystals, and, in response, Silicon Valley is bombed with Cane Toads in order to get rid of the bugs. As a performance piece, the narrative would be read live while the background tape of manipulated environmental sounds along with a vocal processing device to allow immediacy to the live performance. Sometimes performed with theatrics or projected slides.

Recording of Roland Yvanez's "Brumes" for solo magnetic tape. The title translates to "Mists." The piece evokes the relationship between water and air on the surface of the ocean.

Sound recording of Carlotta Herman Mellon being interviewed by G. Morris.

Sound recording of Carlotta Herman Mellon being interviewed by G. Morris.

Recording of Reed Holmes's Carousel for choir and tape. The two movements represent a different aspect in the cycle of life: movement 1 "The Whispering Wind" is from the point of view of the Elder, introspective and thoughtful, and movement 2 "Carousel" is from the point of view of the Younger, rhythmic, aggressive, spontaneous, and freely melodic. The choir adds heterophonic elaborations of the pattern to the second movement.

This is a co-production between the studio of the Technical University of Berlin and the Ghent IPEM Studio in 1984. The piece continues the line narrative of my other electroacoustic compositions, such as Fabulas, Fabulas segunda parte or El cuaderno del alquimista ("the notebook of the alchemist"). Charly finds inspiration in the science fiction fiction Flowers for Algernon ("Flowers for Algernon") by Daniel Keyes. This classic of the genre tells the story of Charly, mentally handicapped who, thanks to a surgical intervention, will become a genius. By testing a haunting insight, Charly discovers that the effects of the operation are reversible: he will return to his original disability. The piece does not follow a mirror shape, as the text might have suggested in the first term, but, through the various electroacoustic procedures, it proposes a perpetual metamorphosis of the materials: a minimalist melodic theme will become a motive of orchestral dimension, to be metamorphosed again into a whispered human voice. The piece is stereo / quadraphonic. Technical collaboration: Folkmar Hein for the Technical University.

Jean-Baptiste Barrière: "Chréode " is a borrowed term from morphology and biology (from the Greek "cre" it is necessary," and "Odos" path: Necessary path). It is used here as a metaphor for a systematic and intersecting investigation of the material and the organization. It is about my time of a generic title for a set of computer works, of which "Chréode I " is the first element. Although the materials are very worked, the attention in this piece carries more specialty on the organization. "Chréode i " is the first step towards a grammar of processes that I would like to attempt to elaborate. This research on musical processes, their fields of action and their limits, has been thought as a strategy of approach to the musical territory, as it is found revolutionary by the possibilities offered by the computer. A very general destination for this project was experimenting with different types of organizations, and a higher level of learning about the time structures formally. The compositional structures as well as partitions have been elaborated in the programming environment forms with the help of Pierre Coine and Yves Knob. The material sound has been chosen to allow a certain type …

Recording of Jean-Baptiste Barriere's Chreode I. The title Chreode I serves here as a metaphor for a systematic and intersecting investigation of material and organization. At the same time, it is a generic title for a set of computer works, of which "Chreode I" is the first element. Although the materials are very elaborate, the attention in this piece is more specifically on the organization. This research on musical processes, their fields of action and their limits, was conceived as a strategy for approaching the musical territory, as it is renewed by the possibilities offered by the computer. A very general destination of this project was therefore to experience different types of organizations, and at a higher level to learn how to structure them in time and formally. The compositional structures as well as the scores were developed in the FORMES programming environment with the help of Pierre COINTE and Yves POTARD. The sound materials have been chosen to allow some type of control over the timbre, focused on a small number of very compositionally relevant parameters. Thus the work on the timbre is essentially based on the compression and the expansion of the formants or the spectral envelopes, this …

Recording of Larry Austin's Clipperfix-Supersong.

Recording of Shin'ichi Morita's Coeficient of rebound. The piece focuses on the concept of rebound, which makes up the natural rhythm and influences the sound. Based on a calculation Morita made on the computer, he added realized sound and natural sounds to the rhythm of rebound to create the piece.

"Comeclose and sleepnow" is based on the homonymous poem by R. Mac Gough, recited by Stephen Montagne. The piece is composed in six sections. In each section are developed parts of the converted text and are highlighted phrases or words of poetry. All the sound material of the piece was composed solely by transforming the recited text.

Recording of Lelio Camilleri's Comeclose and Sleepnow. The piece is made up of six sections. In each section are developed parts of the transformed text and are highlighted sentences or words of the poetry. All the sound material of the piece is composed only by the transformation of the recited text. "Comeclose and Sleepnow" is based on the namesake poetry by R. Mac Gough, recited by Stephen Montagne.

Recording of Charēs Xanthoudakēs' L, comme Bunuel ou la forêt des symboles.

Crying the Laughing and Golden is a tape work created in 1983 at the electronic studios of Sweelinck Conservatory in Amsterdam. The sounds of a woman laughing and whispering form the basis of most of the sounds in the piece. Studio techniques of multi-tracking, layering, filtering, and modulation were employed as well as synthesis of original sounds. The composer evokes the inner world of a woman's mind, evoking various emotional states of eroticism, violence, joy, fear and ultimately calm. The work has been presented several times in such cities as Amsterdam, Brussels, Heidelberg, Kassel, Los Angeles, New York, Memphis, Atlanta, and Boston. It is the soundtrack for an experimental video by Paul Muller entitled Reflections in a Sound Mirror which has won numerous awards in Milan, Montreal, Sienna, and Berlin. The video was recently acquired in the permenant collections of both the Stedelijk Museum, Amsterdam, and the Department of Visual Arts of the Dutch government.

Recording of José Augusto Mannis' Cyclone. The composer describes this work as a language of electroacoustic music in which what counts is the gesture of the sound. The movement of the composition is lively, vigorous and energetic, creating clear musical articulations.

Recording of Boyko Stoyanov's Darmstadt Suite.

Recording of Alain Thibault's Deca-Danse. Using a recording of a speech by President Ronald Reagan, Thibault makes a statement about the destruction that humans cause for one another. Th piece is split into ten sections: 1. Technopolis; 2. You are Loved; 3. Special Emission; 4. President's Message; 5. Reagan's Happiness; 6. Reagan's Delirium; 7. The Most Beautiful Gift of God; 8. Generation x; 9. Mx; 10. Future x. The piece was created at the Studios Bruit Blanc and McGill University.

The kendang is a Javanese drum. In Javanese music, the drum sounds are onomatopoetic, that is they are duplications of spoken language. An appropriate kendang player, however, will always tend to enrich his sound repertoire by imitating arbitrary sounds of the environment. My composition Dialogue refers to this. First the computer-generated sounds are introduced in an onomatopoetic way and imitated by the kendang player. Then the computer sounds develop in a way as to move finally far beyond the expressive power of the kendang. The natural and the synthetic sounds enter in a heavy conflict leading to a climax. The contrast is, however, bridged eventually by fragments of the Javanese music "Subakastawa" in the tender Slendro-9 tuning. The piece was created at Utrecht Muziekcentrum on the 24th of January 1984 with the collaboration of the Javanese kendang player Supangah Rahayu (Paris).