Du Dehors is based on a poem by Paul E’luard from the cycle “Poésie et Vérité” (1942). It is a dramatic poem that tells us about the reflections of the mind of a man sitting in jail. This composition is the 3rd part of my piece “Du dehors-Du dedans” for mezzo-soprano and orchestra in four parts. The tape has been realized in the studio for electronic music of Radio Hilversum.

Recording of Gabriel Brnčić's Polifonía de Barcelona.

A composition for two tapes: one 1/4 inch four track quadrophonic tape and a stereo tape. for two didgeridoos, a bull-roarer plus live electretonics tree with waving speakers on 4 meter long fishing rods plus magnesium lights. Voice: narrator Stephen Dunstan, Australia. Sounds of nature: three actor imitating sea, winds and seagulls. All instruments played by Kurre Nykopp, Finland. Duration 12.45 min. Premiere at the Helsinki Biennale in 1983. This piece has several later versions realized f.g. with saxophones, litophones an tape. All rights owned by authors. E-mail: agaps@nettilinja.fi Programme note: Ò How did living on the Earth start? From which does the time start? Hod did Kosmos got it«s birth? The Big Bull was slaugtered, the Giant was killed, the Chaos was cut, the Mussel was split, Male and Female were separated. This piece is a synthesized fiction of the Genesis story tought to us. It is a story from the very beginning and a story fron mankind«s future. The outer form has three elements: - a four channel tape with it«s Genesis story and the narrator - the tree for good and bad wisdom (live-electronics) - maybe the oldest known instruments of mankind. the didgeroos and the bull-roarer …

"Pain" was realized with two of PDP-15 computers at the Institute of Sonology in the Netherlands, using real-time computer sound synthesis technique and some computer-controlled analogue equipment. Compositional programs are written in FORTRAN and sound synthesis programs were written in PILE that was the language for the real-time computer sound synthesis developed by Paul Berg. This piece was premiered in Utrecht in 1983, along with the following text: This piece is based on my experience in the white room in spring 1980. In that time my ex-professor Yoshiro IRINO was seriously ill. He was dying in the bed in the cold, white hospital room. I took care of him, listening to his breathing as proof that he was alive, to the dropping water in the plastic tube as if it was counting a little of the rest of time, and to the sound of a white wall. Sometimes I felt an emptiness and sometimes a tragedy and a sadness. Pain attacked him, it was getting frequent, and his breath was getting confused. ------ In spite of three months of medical treatment he died on June 23, 1980. After his death I felt not only an emptiness and sadness but also …

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.

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 …

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.

This piece is a part of a cycle of 8 pieces. J.M. Wyx is a fictional figure, who suggests a fanciful atmosphere of an ancient world and historical instruments. The form is in a large ABA form. Within the composed music, the piece offers an improvisation possibility for solo instrument.

Real Time was written as a chamber concerto to use as a solo vehicle for performance on the Synclavier.

Recording of Martin Wesley-Smith's Wattamolla Red.

"Divertimento Nostalgico / 4 Puertas", is an electroacoustic work. The variety of the language used characterizes it as divertomento, since in it very simple modal or tonal melody lines are interlaced in search of a more complex language or sound discourse. These lines or melodic games, are transformed at times into a material of great density producing and proposing a strange and different way of sound relation. At other times, traditional music emerges as an auditory need, as an act of repose. The almost infantile counterpoint becomes adult complexity, the dislocated game passes from the known to the surprising and in the same moment it is recognized again. Doors are surprises behind which there is always something ... Nostagia can appear anywhere ... music is a memory. This work was composed in 1983, in ARTE 11.

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

The work comes from the analysis of the formal parameters (duration, pitch, accent of the phonems), of the prosody of three poems (canzoni) of 13th Century written by Dante Alighieri, Guido Cavalcanti, Guido Guinizelli on the same subject: the incoming of their loved woman among the men. The relationship between such parameters and the main characteristics of the musical language, which has been already pointed out by many people, has permitted the extraction of the formal model for the composition. We have employed the vocal synthesis model with linear prediction coding implemented on the interactive sound system ICMS, realized by Graziano Tisato, to obtain the formal data and those referred to the phonems of the poems. Such data have been opportunely processed by Pascal and Fortran programs and employed for the synthesis and signal processing by Music V, Music 360 and ICMS programs. The work was commissioned by RAI and realized with the resources of the Centro di Sonologia Computazionale, University of Padova. The natural voice in the piece is Lorenzo Rizzato.

In this admirable poem, everything is included: rhythm, velocities, movements, spaces, materials, numbers and form. Music puts at the service of the text natural images / movements, their synthetic imitation and transformation chosen for their expressive character. Of symphonic character by the wide variety of sound sources, the mixing creates uniformized energy textures, of melted character, vertical, or, on the contrary, contrapuntal chains. Exile: moment of transition between two worlds ... Directed at the analogue studio Métamorphoses d'Orphée, Musics & Research, Ohain (Belgium) with the radio creation fund of the French Community of Belgium for the new version.

This piece for magnetic tape and string quintet with double bass takes as a reference a fairly well-known instrumental practice, the Scordatura, that is to say the game with an unusual agreement. However, this idea is here used more figuratively, since at no time the musician does not tune his instrument but at any time it is proposed to him the transformation of an object-stamp chosen for its roughness, given in its raw form and presiding at the origin of this work. From then on, this very broad thought guided me to transpose a music made of big sound blocks evolving rhythmically in registers, in densities, in power. A personal gestural metric allowed me to continually carve and order these amalgams in an attitude of sculptor-electroacoustician. Here the magnetic tape is written as the score and the score as the tape. This constant coming and going must give, precisely, the dissociable and inseparable spirit at the same time, to this playable in several versions. The same developments, modifications or permanent evolutions with filtering, repetitions, changes of lighting registers, amputations or multiplications were implemented at the level of the band as well as at the level of the instrumental writing. Thus, …

Recording of Roger Doyle's Quiet Slipper Year.

Composed for the Tinell Hall, at the Barcelona Royal Castle in the gothic quarter of the city, and the Percussionistes de Barcelona ensemble directed by Xavier Joaquin. Tries to use the space as an element in the composition, taking advantage of the peculiar reverberation of the stone wall hall. Space and electronic music create an appropriate environment which facilitates the reaction of the players, distant of each other; they just follow the signals of the central player surrounded by the public and the sound signals coming from their loudspeaker in the corners of the hall. The central player has the picture of whatever is going on, with the total sound, by following each player and the tape material coming from the 4 corners of the hall, enabling him to guide the piece thanks to his acoustical situation. The tape material uses electronic sounds plus processed sounds from different takes of sound structures Baschet.

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).

Sequence Symbols exemplifies the composer's exploration of the concept of modulation spectra considered as inharmonic "harmonizations" or chords. The gradual transformation of basic note groups related by common tones provides the underlying pitch structure. Each group so derived in turn furnishes the intervals that are treated as generating dyads for the inharmonic chord-spectra. Chord-spectra can be enlarged by the simultaneous sounding of the chord with its transposition at a desired interval. In this way a variety of tension and release patterns are created by associating a specific interval with various kinds of chord spectra. Common frequency components between the chord-spectra provide a basis for hierarchical structuring of the materials generated by each note group and its possible interval transpositions. The general wavelike form of the piece (at times dramatic, ironic or static) corresponds to memoents of prominence by a note group or interval or their transpositions. On another level, the wavelike shape of the piece can be attributed to the interweaving of sections and their interruption of and by each other. The conception of the work varies from symphonic scale to inteimate chamber-music proportions - a formal combination that seems rather well-suited to music conceived in terms of digital sound …

Recording of Lárus Halldór Grímsson's Winter Romantic.

Recording of Stephen Montague's Tigida Pipa. Commissioned by Elms Concerts for Singcircle, with funds provided by the Arts Council of Great Britain. Tigida Pipa was composed in Ghent, Belgium, and completed in London in January, 1983, but revised several times until 1989. The text consists of invented words and percussive sounds whose inherent rhythmic structure propels the work at breakneck speed through a rondo of sonic adventures.

"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.

Within Time Mark (commissioned by percussionist Kathleen Kastner), are specific considerations including a continuum of timbre - thus providing for an integration of electroacoustic and live sounds without the loss of individuality, and spatial disposition - wherein the location from which sounds emanate within the host performance space is also a parameter for composition. Originally realized in 1983 with concrete and modular voltage-controlled synthesis techniques (including much analog tape editing), the electroacoustic portion of the composition was reworked to reduce the inherent analog tape hiss and was then digitally re-recorded in 2000.

Solar Wind is an electronic piece based on synthesized audio representations of bow shock interactions of Saturn and Venus with the solar wind as observed by Voyager, Voyager-2 and the Pioneer-Venus Orbiter. The source tape was generously supplied by the project director of the plasma wave instrument, Fred Scarf, of TRW, for NASA. The plasma wave instrument detects phenomena associated with solar wind interactions in space. The instrument, placed aboard this spacecraft, gathers information and analyzes it using a sixteen-channel spectrum analyzer. The data is transmitted to Earth and drives a computer which controls the amplitude of a sixteen-voice music synthesizer. In some bow shock interactions the actual frequencies of the phenomena are replicated; in others, some frequency shifting was necessary. Time compression is set to a 480:1 ratio. The final sequence of the composition uses the source tape with minimal manipulation. The middle section of the piece (bow shock sequence) uses the source tape, but heavily modified. The remaining segments are loosely based on the source tape.