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.

Fantasies for Soprano Saxophone and Tape was written in 1983 for saxophonist Kenneth Fischer. It is dedicated to him and to the memory of Peter Tod Lewis. The music commemorates Lewis' wit and taste for the unexpected. Each movement addresses a different facet of his rich personality. The first movement, "Imminence," is a tongue-in-cheek serial work, involving grotesque tape sounds and robust counterpoint between the tape and the saxophone, resolving to an uncertain and hazy cadence. The second movement, "Remember," is a gentle recollection of Lewis' warmth, punctuated by a cry of grief at the end. The final movement, "Homage (Little Birds)," is a rollicking juxtaposition of the classic and the popular in 20th century music. The lyricism of the saxophone music is violated repeatedly and finally squelched by the tape's jolly violence, spiced by quotations from contemporary rock and roll. With the exceptions of the "rock" quotations, all of the analog tape sounds were created using complex concrete manipulation of loops of gong, cymbal, and almglock attacks. The work was realized in the Electronic Music Studio of the University of Georgia.

Recording of Pril Smiley's Forty-three (43). The sounds of this piece are structured in complicated layers that induce a kind of "x-ray hearing," focusing on different events within the texture.

Recording of Andréa Libretti's Frammento da "Ho".

Recording of Jukka Ruohomaki's Hommage à Winston Smith. This work is a recomposition of old sound materials made for am experimental short film. The film celebrates the year 1984, and it develops further the basic ideas of G. Orwell's novel: human beings are produced, exploited and destroyed according to the needs of society. The sounds have here undergone manifold processes, male voices being the main material.

Recording of Juan Marcos Blanco's Huellas.

Recording of Douglas Doherty's Impact. The sounds and structure of the work evolve through powerful and complex impact resonances.

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 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".

"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 Peter Martincek's Les insectes. Incorporates the sounds of insects into a electronic piece of music.

There is an axial note, Db, out of which some sounds escape occasionally, only to return to it. All other sounds are stratified around these, and the entries of instruments are somewhat free, in a quasi canonic imitation. The tape part was realised with a Synclavier II Digital Synthesizer at the Electronic Music Studio, McGill University. The piece was written for the Agrupaci—n Nueva Mœsica/Rosario [ANM/R] and its conductor, composer Dante Grela. Interferences III is dedicated to them. Premiere: August 14, 1983, during a concert organized by Asociacion de Amigos de la Escuela de Mœsica and the Facultad the Humanidades y Arte UNR, at the Sal—n Italia, Rosario. Chamber Ensemble conducted by alcides lanza. Canadian premiere: with the group GEMS, during the Festival of Canadian Music, organized by Carleton University, at the Ecole Secondaire de Lasalle, Ottawa, on February 27, 1984. LP recording: GEMS Ensemble, alcides lanza, conductor [McGill Records] CD recording: GEMS Ensenble and soloist Meg Sheppard, EMS 35th anniversary [double CD, McGill Records] Score: SHELAN, eSp 8310

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 …

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.

Recording of Joris de Laet's Khene dimensioned II. This work is for magnetic tape, and uses sound recorded from the khaen, a mouth organ from Asia, used heavily in Laos. 6 instruments were used. There are four parts to this work.

Recording of Åke Parmerud's "Kren," a concert piece. The title is an acronym of time (the clock) and energy: Kronos an Energy (KREN). The main idea for this piece was to create an electric world loaded with sound events that were emitted in a regular way. The work was created in Stockholm's EMS Studios and was commissioned by the Swedish Institute for National Concerts in 1983.

Recording of Roberto Doati, Gianantonio Patella, and Daniele Torresan's "La materia è sorda" performed by Lorenzo Rizzato (speaker) and electronically realized by Granziano Tisato.

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.

Recording of Paul Dolden's "The melting voice through mazes running." The piece was composed by using computer and concrete sounds.

Recording of Charles Dodge's "He met her in the park," poetry by Richard Kostelanetz. The poem consists of a boy-meets-girl story that is told eight times, and the retellings abridged versions of the previous ones, sometimes reversing the gender roles until the final retelling is just "He met her in the park." In the composition, the lines are read by a male and female actor alternating lines and each telling of the story is articulated in a different way. The voices are synthesized with melodies, and over the piece, the voices become understood more like music which echoes the original language.

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 Rune Lindblad's Metamorphoses.

Recording of Oriol Graus Ribas' Metanoia.

Each year, in the early days of spring, we bloom a high restoir at the foot of a large canvas depicting the half-naked Saint, escorted by two bishops with large mitts, gloves and white pumps with gold.Each flower, each candelabra, every grain of incense consumed seemed to revive, and for a few hours only, the whole scene. The blood flowed again on a base of matte skin, slowly the eyelids of the Martyrdom became animated, the movements of the head and the bust revealed the painful efforts of a kind of arrested march. What the eyes of a trained witness could detect, like us, these otherwise imperceptible details; every year, we thought we were seeing new arrows against him unchecked. Mille flèches, is the music of the repository.