Lollipops was inspired by a sculpture of Alexander Callers', entitled Lollipops. The Calder suspends 4 large multicolored steel "lollipops" from a large red steel foundation. When the wind blows, the lollipops are motivated to sing as steel does against itself. The extraordinary combination of the colored lollipops with their association to surreal and child-like things; the unyielding drama of the cold steel structure; and the wistful song of the steel, gave me a profound feeling of something both beautiful and violent and essentially defendant on each to be. It is with the idea of an "excruciating beauty" and becomes fantastically close to it the the Lollipops as a metaphor inspired. I make no attempt to imitate the sound of the sculpture, but rather, it is the metaphor that I am interested in and the feeling that embodies the essence of it.

This work was made from basic material taken from human voice and electronic sources and was ended at the beginning of 1984.

"All animals always hear. To hear is the fundamental involuntary activity that initiates experience of the external world. But hearing is not listening. Only when the flow of hearing is interrupted by attention does listening occur. There must be desire." (Philip Oxman : 'From Hand to Mouth' (BBC/1978)) Time Past III was realized between July 1983 and December 1984 in the Electroacoustic Music Studio at City University, London. It is dedicated to the memory of Philip Oxman, whose ideas inspired and motivated its composition. Natural sounds - a stream and a beehive - form the basis of two drones, while others are created from shorter natural sounds processed by the Fairlight CMI, as well as one based on electro-mechanical resonances of a double bass.Time Past III quotes ideas from other works in theTime Past series. The work is a journey through sounds and textures, moving between nature and artefact, present and memory. My special thanks to Sue Bickley (voice), Peter Jones (bees) and Lise-Martine Jeanneret-Oxman (The Mill House stream). Time Past III was first performed at a concert of the ElectroAcoustic Music Association of Great Britain (EMAS) at the Institute of Contemporary Arts, London in December 1984. It was revised …

"De Wang" is a monologue set to music and wants to emancipate the "sound" at the same time. The piece is a musical reflection on isolation (and psychiatry) as a political remedy and as a reflection on musical aesthetics. The specific use of psychiatry and the treatment of prisoners shows how an incumbent government can deal with its contentious elements. Sensory depravation, (isolation), electroshock, medical treatment, psychosurgery, in fact new means of torture that are not yet recognized as such. This work includes "pure" sounds in their raw form, which have not been blurred by aesthetic standards. FNME Prize (awarded to composers under 35 years old) of the XIVth International Electroacoustic Music Competition of Bourges.

Recording of Hiroaki Minami's Four Nocturnes.

Houdinism (1984) is a 12'20 "command of Swedish radio, an example of Lindgren's anti-sentimental side, and Houdini, the master of the escape, was the man who was locked in boxes with "infracturable" locks and chains, and of course he managed to escape from his freely chosen prison and was given the honorary title of "Master of the Escape." Lindgren's work is a complicated device with small and large "sound boxes" that are open or closed Depositif is designed to use a planar geometric system in which the opening and closing frequency of each of the boxes is controlled by a mathematical sine function. upper control level of the wave is a hierarchical system of proportions.The proportions of the soundboxes are decreases and the increases of each of them.what looks like chaos is a structured reality of how The expression is absolutely the opposite of rhetoric. It can easily be said, as Lindgren himself says, that music speaks for itself.

On December 7, 1975, Indonesian troops attacked Dili, the capital of the Republic of East Timor, thus ending the Timorese people's brief but brave period of independence and beginning an era of savage colonialism that continues to this day. Concerned Australian supporters of Fretilin (that East Timorese resistance army that is still waging a bitter guerilla war against the Indonesian invaders) hoped for many years that the next Labor government in Australia would honor its pledge and bring pressure on the Indonesians to allow the people of East Timor to determine their own future. But when the government under Prime Minister Bob Hawke came to power it reneged on its promises, leaving Fretilin to fight on without even psychological support. In common with many Australians, I was outraged by my government's sell-out and resolved to offer what support I could. This took various forms, including the composition and performance of this piece; "Venceremos!" is an expression of solidarity with the people of East Timor designed to bring attention to the situation and to encourage others also to offer support through whatever means possible. Some of the music is an electronic realization of a Javanese trance dance, symbolizing the advance of …

The first three text fragments were inscribed on pyramids between the years 2350 and 2175 B.C., the fourth text fragment is the remains of an ancient Babylonian penitential pealm. The electronic sounds accompanying the text are fragments from four sections of another composition, Tetrachotomous for piano, violin, cello, and tape. In the epilogue, the text fragments are transformed into electronic sounds which are immersed into a texture of harmonic fields. Time and chance have worked on the materials, not only to corrode but to create new structures, new forms and new values to attract the mind. This work was composed for the Radio Canada program 'Alternances'.

Recording of Tera de Morez Oyen's Dances of Illusion.

The sea is always moving, waving and roaring, fast or slow. Sometimes green or blue, dark or light, warm or cold. In the same way my mind is constantly in commotion. In my head, in my ears, inside myself. I tried to reflect these thoughts in this composition. The basic material is a recording of several percussion sounds, which are modulated electronically by a synthesizer, a Publison Harmonizer and a EMT 251 digital reverb system. The last one is a splendid machine for special effects, which I used in another way than the common way. The tape has been realized in the electronic music studios of Radio Hilversum.

La chambre secrète is the first piece for a 9-voice musical ensemble composed after the work of Alain Robbe-grillet. It uses a small part of original text, principally three fragements in evoluationary connection with the figure of man and his situation in space. These threeThese three fragments, in turn, cut up, exploded become generators of sound forms and also of new meaning. The structure of the piece is determined by the principle of moebius: closed loop on itself, but whose contained exploration reveals two different faces. These three fragments, in turn, cut up, exploded become generators of sound forms and also of new meaning. The structure of the piece is determined by the principle of moebius: closed loop on itself, but whose contained exploration reveals two different faces. The origin of the sound material consists of three readings of the original text by Michaël Lonsdale. The sentences or fragments of sentences retained in the elaboration of the piece are often reconstructed from these oppositions, the different syllables of a word being able to belong to one or the other of the three versions. . This process of recomposition opens perspectives of a musical work on the voice which is located …

These two sections, each separately, are part of the work composed for a ballet called "Song of Creation", based on the link of St. Francis of Assisi. The first part (opening) depicts St Francis of Assisi, sitting alone, sick in the dark. The second part (Prayers) is based on Psalm 141 "Lord, take my soul out of this prison, so that I pray ... Make every cell of my body reach you ...".

Recording of Arthur Kreiger's Fanfare and Chaconne.

It is a mixed piece for percussion and electroacoustic support. This one was realized in 1984 at the Berlin Technical University Studio with technical assistance from Folkmar Hein. The CD interpretation is performed by percussionist Martin Schulz. From a formal point of view, the piece divides into two different parts. The first is a permanent game on acceleratins, with the evolutions of a serious bell-shaped sound as alternative of speech. The second feeds on the musical gestures of the first, arranged in an open spatial context and very spread out. Percussion fuses totally with the electroacoustic medium, giving rise to a real perceptual unity. The electronic materials of the support were produced with a Synclavier and an ARP synthesizer. The Doppler effects at the beginning are produced by devices developed by the Berlin Technical University Studio.

The work is based on an idea of a tale or science fiction according to which in some places of the Cosmos there must be beings and factories, which are like or different from each other, that produce the raw material necessary to manufacture stars, planets and comets, as well as other sidereal worlds. I decided to make a direct and accessible music, interesting and elaborate. Although throughout the composition there are moments that can be associated with very concrete visual images, my intention is to suggest their psychological climate, allowing the author to solicit his imagination.

Recording of Werner Ruttinger's Suite uber E-Faust.

Time Past IV, for soprano and tape, was written between January and June 1984 in response to a commission from Jane Manning made possible with funds made available by the Arts Council of Great Britain. Time Past IV won first (equal) prize in the "mixed category" of the Bourges International Electroacoustic Awards 1985. Short vowels and consonants were recorded and fed into a Fairlight Computer Music Instrument. These were manipulated, using the computer, into echoes, drones and textures. The work was assembled in the multi-track studio with a small amount of additional treatment. The text is from Shakespeare's Sonnet XXX: When to the sessions of sweet silent thought I summon up remembrance of things past, I sigh the lack of many a thing I sought, And with old woes new wail my dear times' waste. Then can I drown an eye unus'd to flow, For precious friends hid in death's dateless night, And weep afresh love's long since cancell'd woe, And moan the expense of many a vanish'd sight. Then can I grieve at grievances foregone, And heavily from woe to woe tell o'er The sad account of fore-bemoaned moan, Which I new pay as if not paid before. But …

Recording of Michel Pascal's Chute Libre.

“Vivo” is the "remake" of a work that has suffered several accidents; the worst of which was the partial erasure of the only existing copy, dice to a mysterious magnetic field. The changes have also affected his title, which now manifests its perplexity and its way of existence.

Mascaras is a work that tries to evoke all the multiplicity of situations, sensations, states of mind and atmospheres to which masks are linked ... Masks arise in procession, merging, hiding, to each other: the game, the mockery, the clown, the theater, the carnival, the joy ... And also the mysterious, the occult, the cruel and the savage, the solitude and the funeral, the fear. This work was realized at the Institute of Fonology in 1984.

The fun title of work : "Amphora" (for Tenor Saxophone and tape) is four movements : 1. Snake Chari 2. Bazaar 3. Prayers 4. Amphora SNA

"Yan", Rikskonserter's Command for Kroumata Set dedicated to Jan Ling, professor of musicology, is a twin composition of "Kren"; the two pieces can be given continuously as one single composition or separately. The early percussion attacks allude to "Kren", but "Yan" is closer to an improvisation and takes the form of an elongated and gradual transformation, a distinct form of Kren's one-piece construction.

"Eibbed" (Debbie spelled backwards) is a work that tends to unify classical forms with "created" structures thanks to the similarity of sound. There is no deeply philosophical thought behind Eibbed. The piece has instead been composed on "comfortable" (soothing) sounds for the ear, whether or not familiar with electroacoustic music. The sound sources are based on glasses (different sounds of 2 beer glasses that come in contact, friction, shocks, etc ...), a torn newspaper and electronic music designed and developed on the Fairlight computer. The purpose of the piece is to connect tonality and atonality. It was made to show that I believe there would be much more room for tonality in contemporary works than modern composers allow. We do not do exhaustive studies of tone. Eibbed was composed under the direction of Jonty Harrison in the electronic music studios of the University of Birmingham in May 1984.

Piece for amplified spruce and magnetic stripe in 3 movements: * Sands (3 mn) * The Pope (5 mn) * Revelations (7 mn) Order of the group of Experimental Music of Marseille.