Recording of Kristi Allik's "What if...". The title refers to the composer's most common thought during the creation of the composition; the work was the result of constant questioning and exploration, mainly in the area of timbral synthesis and sound juxtaposition.

Recording of Larry Austin's Clipperfix-Supersong.

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 Juan Marcos Blanco's Huellas.

Recording of Maria Luisa Bon's Shift of Emphasis. The piece was composed at the Computational Sonoma Center of the University of Padua. It is based on 21 complex sound blocks, each having a different structure and origin.

Recording of Gabriel Brnčić's Polifonía de Barcelona.

Recording of George Skip Brunner's Three Spheres.

Recording of Roland Cahen's Métabole n° 1. The atmosphere of the piece is that of a place of "dark clouds like the sky of Flanders." It was realized at the IPEM of Ghent in Belgium headed by Lucien Goethals. The piece is one of Cahen's first musical compositions.

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 Lelio Camilleri's Overfall. Transformed piano sounds and sound structures realized by means of voltage control make up the sound material of the piece.

Recording of Lelio Camilleri's Tess In Stonehenge. The piece explores the relationship between fast sound structures and sounds with a longer duration and different types of envelopes. The sound equipment consists of filtered white noise bands, frequency modulated bands, and sound structures obtained by the control voltage technique.

"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.

"Incontro con Rama" was created for the first time in 1982 after a work of absolute complementarity between the indications, the aspirations of Luigi Ceccarelli and the technical practice of Renzo Brocculi: a splendid creature generated in a single week of close engagement with two trombones, a tuba and a complex electronic device for delaying and accumulating sounds, built by the author to do this work. The writing of this work moves on two main tracks: on the one hand the preference to the timbric dimension and to the spectral microvariations, on the other the almost complete absence of melody, in the usual sense of the term. The reference to the rhythm of breathing, as an alternative to the heart rhythm (which music usually favors), however, is the only supporting base of all the architecture on which I conceived this piece. Certainly these that we have mentioned are rules that postpone more to oriental conceptions of sound that to those of our music: in "Incontro con Rama" we can clearly recognize the "OM", the fundamental sound that generates the universe according to Indian mythology. Indeed we can say that certainly "Incontro con Rama" not other than the "OM" in its …

Recording of Chris Chafe's "In a World" for cello and computer sound. Computer sounds were realized at Stanford University's Center of Computer Research in Music and Acoustics. Software was created to control legato phrasing of singing voice models, and to perturb them in direction of other instrumental sounds,

Recording of Henri Chopin and Larry Wendt's Voyage to California.

Recordings of Marek Choloniewski's "Rag, Rag, Rag" (includes five recordings, the last of which is a reduction). The piece is a transcription of the constructions of instrumental music with added electronic improvisation. Traditions of contemporary music meet those of jazz and rock, giving the piece a three part structure.

Recording of Louis Chretiennot's "Des nombres et des mots." The piece begins with a man reciting numbers 1-10 in French; after the first reading, electronic manipulation is added.

Recording of John Michael Clarke's Soundings. This piece is an exploration of the sound world of the cello from which the title “Soundings.” The title refers to “resonances,” the tape being a reflection of what the cello plays “live.” Indeed, most of the tape sounds come from recorded cello sounds that were later transformed into an electronic music studio. There is also in the middle part, some sounds produced by computer.

Recording of John Michael Clarke's Soundings. This piece is an exploration of the sonic world of the cello hence the title "Soundings". The title relates to "resonances", the tape being a reflection of what the "live" cello is playing. This is because most tape sounds come from recorded cello sounds that were then processed in an electronic music studio. There are also some computer generated sounds in the middle part.

Recording of John Cousins's "Edit for Pauline" for tape.

Recording of James Dashow's In Winter Shine. This work was commissioned by the MIT Council on the Arts. This work has been separated into two tracks and is meant to be played "quartet-style" with each loudspeaker in the quadraphonic work thought of as a separate performer. The title of this work comes from a line in John Ashbery's poem "Litany".

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 Joris De Laet's Khene Dimensioned II, composition for tape magnetic in which was used a material sound both concrete and electronic. The sounds recorded come from the "KHAEN", a mouth organ from Asia, especially Laos. The instrument is composed of 16 bamboo pipes. The sounds they produce are rich in harmonics and produce 16 different sounds. The composer had 6 instruments. No two are pitched the same. One of these Khaens was used as the basis for the whole work. The tone of his 16 sounds have been transformed into Herz. From this frequency data, a data matrix and served for the composition of numerical and material ratios for the composition of algorithms and for the control of an analog synthesizer by computer. The dimensions of the intervals of this popular Asian instrument dominate throughout the work for the realization of musical intentions. All the frequencies that are part of the electronic sound components are the same as the basic khaen scale. In this way, dense sound spectra are formed in relation to the internal harmony of the acoustic instrument. There are four parts. Each development is specific and in parametric relation with the intervals of the khaen.