Recording of Pierre Mariétan's L'eau sourd, bruit, chante. This is a work for electronics that includes sounds of water.

Recording of John Celona's Possible Orchestras (At the 21 st Harmonic). The sound material for this composition was produced using several FM synthesis techniques. When listening to the piece, high regions of formants are obtained when compared to the frequencies at which the fundamentals are placed. Periodic vibrato is used to modify pitches across the entire width of the harmonic spectrum.

Recording of Raoul Pavon's Fantasia Cosmica. This is a work for electronics.

Akha songs and narratives. njí-phà sjhí ə, àphimi-tshú III, Maesuai 2/1-84

Akha songs and narratives. njí-phà sjhí ə, àphimi-tshú III, Maesuai 2/1-84

Akha songs and narratives. njí-phà sjhí ə, àphimi-tshú II, Maesuai 2/1-84

Akha songs and narratives. njí-phà sjhí ə, àphimi-tshú II, Maesuai 2/1-84

Akha songs and narratives. njí-phà sjhí ə, àphimi-tshú I, Maesuai 2/1-84

Akha songs and narratives. njí-phà sjhí ə, àphimi-tshú I, Maesuai 2/1-84

Recording of László Dubrovay's Symphonia. The composition was produced in 1984-85 in West Berlin at the Technical University under the direction of Folkmar Hein. It was made with a "Synclavier II" digital system and a "Synlab" analog system. The process of composition went as follows: all the notes are composed exactly, programmed step by step into the memory of Synclavier II; this program controlled the instrumentation and all of the musical and sound transformation processes. This material was transformed and refined by the "Synlab" analog synthesizer. The work is of a classical conception, the first part has the form of a sonata. There are real themes, melodies united by a new harmonic system. In the movement, sounds are transformed through the use of poly-tempo, polyrhythms, and - as the composer states - "changes of meaning, as if they had not been realized by an orchestra or instruments." The second part is an adagio in the form of a bridge. It is a movement constructed in a dramatic and mono-thematic way.

Audio cassette from The Black Academy of Arts and Letters recorded during a workshop report meeting for the Sojourner Truth Truth Festival held in March 1984. The tape includes one track of audio that lacks presence but includes voices of meeting participants including Curtis King.

Audio cassette from The Black Academy of Arts and Letters recorded during their "Black Music and the Civil Rights Movement" concert recorded at Fair Park Music Hall on January 15th, 1984. The tape includes one track that is well recorded and includes speakers discussing Martin Luther King Jr. and the civil rights movement along with music by a large choir. The tape features an individual male soloist.

Audio cassette from The Black Academy of Arts and Letters recorded during their "Black Music and the Civil Rights Movement" concert recorded at Fair Park Music Hall on January 15th, 1984. The tape includes two tracks that are well recorded and includes speakers discussing Martin Luther King Jr. and the civil rights movement along with music by a large choir.

Audio cassette from The Black Academy of Arts and Letters recorded during their "Black Music and the Civil Rights Movement" concert recorded at Fair Park Music Hall on January 15th, 1984. The tape includes two tracks that are well recorded and includes speakers discussing Martin Luther King Jr. and the civil rights movement along with music by a large choir.

Audio cassette from The Black Academy of Arts and Letters Records. Clip 1 of the audio recording begins with two men, one identified as Mr. Matthews, discussing the safety concerns and inspections of hotels in Dallas. Other conversations on the recording include city council discussions and city budgets. Clip 2 of the audio recording contains an interview with Margaret Walker Alexander, a poet, and writer who discusses spending fifteen (15) years writing about Richard Wright with her novel Richard Wright: Daemonic Genius. Around the fourteen-minute mark the audio transitions into political questions and answers for political candidates for office.

Jardin Secret I (Secret Garden, 1984-85) is a first study in a series of works, for which I have concentrated in making computer research on the relations between different musical parameters and processes, as well as my own musical thinking. I shaped primary models for various different, well-defined musical situations. Starting from these models, I intended to control various musical parameters, without forgetting their particular features. I wanted to find out whether these parameters could be treated starting from the same outset point. Since i have been interested for a long time in the idea of (musical) interpolation, my starting point was also partly determined by this interest, in relation to various specific musical and physical parameters. The dominating type of process in this etude is a gradual interpolation between two points, realized on different parameters in different scales. Sometimes this process is combined with sharp transitions between different characteristics in other parameters. The color and tone levels of the sounds are intertwined into an indissoluble processor FPS-100. All the sound material for the piece has been synthesized with this version of Chant. The mixing of the sound material was made with a Sony 24-track digital tape recorder. (KS)

Recording of Juan Blanco's Bucolica.

Recording of John Rimmer's De Motu Naturae. The work is a musical reflection on the author's personal environment. The movement of nature, of a large scale, cyclical, with ebb and flow, is listened to and rendered thanks to the use of accelerated and punctuated dramatic gestures. These elements contribute to the "dance" quality of the room.

Recording of Charēs Xanthoudakēs' Anamorphoses for tape.

This piece was inspired by the rite of Sikán and Ikué from Afro-Cuban. This piece tells the legend about how Sikán, a not only curious but indiscreet woman, goes to the Sacred River where sacred Ikué lived. Nobody but the initiates could hear Ikué's secrets. Sikán, being a woman with profane ears was not able to hear Ikué's voice, but she did, and she saw, and she told. Nobody believed her fantasy. Sikán kidnapped Ikué to show it. She paid this profanation with her skin and her life. Ikué died, nobody knew how. But the secret was not lost, neither the habit of reunion, nor the joy of knowing that it exists. With his skin was made the "ekué" which now speaks at the initiate rites and its magic. Sikán's skin was used to build another drum that must not speak, still it suffers the punishment of the long-tongues. Nobody plays it.

This piece was included in first electro-acoustic recording in Mexico under the Colección Hispano-Mexicana de Música Contemporánea. Agua Derrramada is the sonic result of my perception of spilled water with different recipients. The instruments used for this piece are one Arp 2600, one Korg 3100 and a DX7 with no sample technique involved.

"We" has a long history. In the mid-sixties he made music for La burr, by Carlos Saura. In a film sequence, Geraldine Chaplin dressed as a Castilian Spanish woman in mourning, rosary, etc., in order to play to excite her husband. It occurred to me to sound the sequence with a Gregorian-based assembly. The music was censored and I had to write something else. But the experience helped me to devise a work in which the Gregorian was the thread. I thought about making a vast fresco in which several musical traditions met, day logasen and ordered with formal criteria necessarily new and able to encompass any sound material. Thus was born the first version of WE, between 1969 and 1970. I was never satisfied with it, since one of the basic criteria of the form, the intermodulation of some sound objects by others, was insufficiently achieved for what I was looking for. Finally, last summer, I decided to finish it. I settled in Cuenca and, working intensely in the Electroacoustic Laboratory of his Conservatory, on August 19 I realized what I consider the definitive version and, from now on, unique. As so many other times, the sound imagination walked …

Recording of Chiaki Takatsuki's Space B.

As a further attempt in the direction of the Gesamtkunstwerk, this piece seeks formally a connection between high-level linguistic culture, lively drama and precise sound aesthetics. It comprises in the original two parts in a total length of about 1 1/2 hours, the actor is constantly present. Based on their story, accompany the central figure except electronic and concrete sounds, a song. Epilogue (for mezzo-soprano, orgei and oboe d'amore), a short wind quintet, as well as the Mephistowalzer (for violin solo) already known by Franz Liszt, where the musical elements often become independent beyond mere "accompaniment", or to transform itself into counterpoints. In fact, the piece, based on the drama, is located exactly between the theater and the music scene, which in today's highly specialized epoch also presupposes a certain willingness of the audience to engage in and rethink. In the case of the performance here, only a part of the middle of the piece can be presented, which is why in this case the text was mixed with the band, so as not to connect the individual sections, at least the listener's imagination is not speech and music distract; but this is actually in the sense of the manufacturer, …