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.

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.

Poster advertising a concert by One O'Clock Lab Band on November 20, 1984, at NTSU Main Auditorium.

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, …

Voie Lactee is a work in four movements (A ? 3:06, B ? 5:53, C ? 9:00, D ? 11:05) meant to depict the fast-changing galactic multitudes of the Milky Way in tandem with reflections on the drama of the human condition. The work owes its title to a recurring stanza in G. Apollinaire?s Chanson du Mal Aime (1904): Voie lactée, ô soeur lumineuse Des blancs ruisseaux du Chanaan Et des corps blancs des amoureuses Nageurs morts suivrons-nous d'ahan Ton cours ver d'autres nébuleuses. Throughout, at least two opposing tempi define the flow of the music. Percussion-punctuated flow in the second movement is followed by more song-like articulation in the third, and by a coda with the sense of finale. Technically, the piece combines score synthesis with sound synthesis. Score synthesis is based on Koenig?s Project One ? not typically used for electro-acoustic music - , while sound synthesis makes use of Dean Walraff?s MUSIC1000 orchestra language, a variant of CSound. I want to thank Dean Walraff for his generosity of opening his studio to me, and composers Pamela Marshall and Curtis Roads for their technical support. Performances include Hartford Public Library 1984, Intern. Computer Music Conference Vancouver (1985), Connecticut …

Recording of Horacio Vaggione's Fractal C.

This work was premiered September 15, 1984, as winner of the 1984 Newxomp Competition. It is the second of three pieces which together form a set. The piece is dedicated to my daughter S. Michelle, whose singing voice provided a model for many of the synthetic voices, and also to my old friend and teacher, Mr. John R. Brasher.

I dedicate this piece to all those who do not remain indifferent to the plight of others, to all our friends granting us their support, if only in their thoughts. I would like this expression of thanks for the assistance and solidarity to be accompanied by a message: make sure that our minds are not conquered by deceptive ideologies. - Bohdan Mazurek

This work was realized at the Institute of Sonology in the Netherlands and premiered in Tokyo in 1984. The tape part was created with real-time computer sound synthesis techniques, and real-time computer transformations of sections of the harp part. Two PDP-15 computers were employed in this process. For the real-time sound synthesis, the "PILEM" application developed by Paul Berg was used. The signal processing programs were written by the composer in FORTRAN and Macro Assembler. This work won First Prize in the Mixed Electroacoustic Music Category at the 13th International Electroacoustic Music Competition of Bourges, France, and was selected for performance at the 1998 International Computer Music Conference in Cologne.

Points was realized on a VAX 11/750 computer at EMS in Stockholm. Most of the source material was generated with a program called Chant. This program is especially designed for synthesis of the human voice, and developed at IRCAM in Paris, by among others like Xavier Roder. The material has then been processed and structured with a set of different "processing-programs".

This is a personal recollection of a Paris which I never knew. It is an anecdotal remembrance of Jean Baptiste Joseph Fourier with more then a nod to Raymond Roussel and filtered through the radio of Jean Cocteau’s taxi. This is the Fourier of the mathematical memoir, On the Propagation of Heat in Solid Bodies, a somewhat controversial view at that time in which the author described the diffusion of heat by a partial differential equation which could be solved using an infinite series of trigonometric functions. The equations for Fourier analysis as it has since become known, also turned out to be very useful in the analysis and resynthesis of sound (which is very much like slow heat), and as such could be described as an infinite series of sine waves of different amplitudes, frequency and phase. Joseph Fourier was also the scientific advisor for Napoleon during the French invasion of Egypt in 1798. Beside his papers on mathematics, Fourier spent several years writing the Description of Egypt in 25 volumes and which Napoleon extensively rewrote, essentially changing history before it was allowed to be published. With its second edition however, Napoleon himself had become written out of the …

This work was composed at the Ontario Science Centre in Toronto as part of an Artist in Residence program. Inspired by Webern's Six Bagatelles, the piece seeks to travel far in a short period of time. The sonic textures build and change rapidly and sounds transform restlessly. In just over three minutes, an entire series of complex statements are quite complete. Composed on 16 tracks, with some sub-mixing employed, a large selection of digital and analog synthesizers were used. The mix is, however, ultimately homogeneous, while stretching the dynamics of the analog recording process to its limits.

Recording of José Manuel Berenguer's La Logica de la Sorpresa.

"The Eternal Lake" is a musical poetic work. The sound material consists of vocal and instrumental, electronic and environmental sounds, intelligible speech and non-verbally treated voice. Music and fable are amalgamated: while the musical component maintains its independent logic, it also wraps itself into the fable, while the fable spreads into the musical domain by the use of verbal structures. In order to maintain intelligibility, the verbal part is practically never sung, while the sung part does not contain semantized words. On the other hand, meanings are also conveyed by non-verbal voice sounds and environmental sounds, and the text is given musical characteristics by accentuating its phonetic properties, rhythm, polyphonic treatment, and densification and rarefaction typical of musical structures. The musical fabric is organized on the principles of hyper-polyphony, making equal use of all sounds parameters, including dynamic and timbral envelopes. Transitions between musically organized segments and environmental sounds correspond to alternations between sleep and wakefulness. Rather than showing life as a dream, this garland of dreams depicts dreaming as another life, but also as a strangely distorted reflection of waking life. The door of sleep sometimes opens a crack so that the dreamer's senses receive auditory manifestations of the …