This is a concrete piece made in 1986. The sound materials in opposition are a "crash" hard, metallic and a serious white noise. However all sounds derive from the same source which is the recording of a train. The ways of recording and the sound world alone, can be seen as a cordial greeting to the financiers of electronic music.

"Lag" is built with a material that is both concrete and synthesized, where electronic sounds play an impersonal, imitative role while the concrete material, consisting of various short musical excerpts that have a great significance for me, is deeply processed. and thus an electronic appearance. Gradually, during the piece, which has the shape of an inverted arc, these functions are so altered that in the end the relation is opposite. Order of the Swedish Radio, composed in 1986, this music is dedicated to my brother for his sixtieth birthday.

I developed the entire music from a piano improvisation by F. Gulda, which was recorded for this purpose. I did not use any other material than ours, by the sound chemistry of the electronic transformation, I formed many figures (gestalten): full of colors, voices, bells, instruments, wind and rain, no sounds without name etc ... From all its components, I built something like a landscape that can be used as an immediate acoustic environment. "Landscape" is mostly abstract, however, with a small tribe with everyday acoustics.

"Litanéa" is an anagram of Electroacoustic Litanies. An exaggerated desire for possession of articulated sound material (down to the microscopic level) is not without the risk of developing a rational, even scientific, mind. In music, this exaggeration leads to a state of mind that may dry up in his desire for absolute possession of the material. A certain part of the periodicity must be left to the music (which does not belong to the composer) otherwise the sound can not exist. Litanies are of all times and all countries, and if they have been a form of religious expression calming the mind, creating a self-hypnotism beneficial on the psychological level, it has become clear to apply this musical form to the new technology of electroacoustic music. What is the point of these phonemic and vocal sounds? Probably first the rhythm of words (this pseudo-periodic rhythm that we find in all music) in cycles, like the planets in their regular races in the universe, then the stamped value of these words ( the timbre that makes the man for the musician). Make me hear your voice and I will know who you are, or rather who you are not (in the …

Litany for the Dead is a composition comprised only of vocal sounds - 2 female and 2 male voices. 1 male speaks a traditional Hebrew prayer that dissolves into the female reading of a traditional Christian Prayer both extensively processed. These provide a kind of harmony (ostinato) for the other voices reading and singing (with vocalise). 3 poems taken from the 14 haiku poems series called Litany for the Dead by Nick Virgilis, poet & author. The poems chosen as they appear in the music are: 1. stoking the ovens/ rising from the smoke and flames/ the names of the dead, 2. the starving village:/ a shriveled shaman chants/ the names of the dead, 3. gladiola bulbs/ wrapped in old newspaper / the names of the dead. The poems are broken down into vowel & consonant sounds and sung, strained, spoken, whispered, etc. then articulated in a clearer way; though music elements override intelligibility at times. Subtleties are focused on which usually required a few listenings to perceive all of the vocalizations. This piece was made with full authorisation and permission of the poet.

Twelve months of electronic music by Gunner Moller Pedersen. And Lydar is a concept, an imaginary unity. Theoretically, we can define a year of sound as the distance that the sound travels over a year: 60 x 60 x 24 x 365 x 0.34KM = 10 722 240 KM. That's about 28 times the distance between the Earth and the Moon, but less than the light or other electronic waves that would do in 35.74 seconds. Sound is physically associated with Earth and Humanity, but its oscillations of the Universe, and it may be an explanation of what, through the medium of music we can feel the universal relationships that are otherwise hidden from our intellectual faculties. The ancient myth of "the music of the spheres" appears, like many other myths, to have a current basis in reality, and with electronic music we have the means that allow us to penetrate more deeply into the universe. In electronic music the universal oscillations are transformed and combined so that we can perceive them in the form of sounds. At the same time in a purely physical way, electronic music brings a spatial dimension to musical effects, and the concept of time …

I worked with Marilyn Monroe's voice as sound material, with the idea that it would be fun to write a "happy piece". It turned out to be not as easy as I'd hoped. The desperateness of Marilyn Monroe came through. There were a lot of levels of dealing with that material and working out that piece, most are by now too hard to describe, but perhaps the most important were the memories; the movie "M" by Fritz Lang, Andy Warhol's "Marilyn" series, and Charles Dodge's "Any resemblance is purely Coincidental", were points of departure for this piece. Most of the tape part consists of transformations of Marilyn Monroe's singing taken from the movie "Some like it Hot", directed by Billy Wilder. These excerpts were manipulated digitally on the F4 computer at the Center for Research in Music and Acoustic (CCRMA) at Stanford University. The orchestra wile a separate entity, comments or ignores the tape.

The business language of communication is the starting point of my septet. The language is broken down here in their smallest elements. By this there is not a semantic relation, but a phonetic plain which has come into being. The singer uses vowels, diphthongs, later consonants. The parts become more and more full of noise and have only heard the explosive consonants. At the same time, the electronics continually envelope the part, and after the time of the greatest modulation.

Recording of Ari Taskinen's The Marriage of Hell and Heaven.

This piece, similar to Matrechka, the nest of russian dolls from which the title originates, takes in the form of an unveiling, a journey where reality, of a certain form, gives place to another reality. It uses the theme, dear to surrealists, that art should never mistaken for the object it represents; thus, in a painting entitled L'air et la chanson (The tune and the song), René Magritte writes, under what seems to be: Ceci n'est pas une pipe (This is not a pipe). Thus waves, breaths, even music originate from elsewhere; they are presented in unnatural forms. From an tumultuous exterior and chaos, we gradually progresses towards a helpless and anxious interior. The sound objects progressively adopt new and unheard-of forms, and resemble less and less the real objects from which they arise. The piece is in seven sections: Chaos, Gris acier, Outremer, Terre de Sienne brûlée, Bleu de Cobalt, Pourpre, Terre d'Ombre. Matrechka was realised between 1984 and 1986 at the studio of Université de Montréal and at the composer's studio from sound material created for six holoscultures of Georges Dyens. The work was premiered on May 1st, 1986 at the Université du Québec à Trois-Rivières (UQTR). Matrechka …

Recording of Wes Richard Wraggett's La mer de lumière.

Mixte (1982) is a pedagogical piece that is part of the Melange collection (volume 2) published by Heugel: the purpose of this collection is to introduce the flutist student to contemporary game modes, and especially to the game. of "mixed" rooms where the instrumentalist dialogues with the digital sound recorded on a tape or other recording medium. Thus, the flute part avoids the acute register of the instrument: but it resorts to flatterzünge, sounds noises, percussion keys and licks. The collection joins the score a cassette containing a copy of the magnetic tape, and also the recording of the complete piece with instrument and tape. The tape, entirely computer synthesized, presents several soundscapes, sometimes in imitation, sometimes in contrast to flute sounds, which it often prolongs or harmonizes; she strives to avoid mechanical quality and conduct musical phrasing. The concerting relationship between the instrument and the band is in the character of chamber music.

Recording of Simo Lazarov's A Momentary Dialogues for instrument and computer. This piece was created for the occasion of Mathematical Conference in Prague, Czech Republic.

This piece was written in 1986, commissioned by the International Conference of Digital Music (ICMC) in 1986 and written for Harry Sparnaay. The tape was created at CEMAMU in Paris using the UPIC system. The mixing of the tape was done at Stichting Klankscap. The sound material for the tape was limited in such a way that one approaches the confines of what one can normally associate with acoustic instruments in order to obtain a parity relation between the tape and the bass clarinet. In the same way the contrasts and similarities between the tape and the clarinet were calculated musically a kind of intimacy was pursued, no different from the current senses of intimacy with the machines in general.

This composition is built on the axiom that at the basis of the musical invention there are not only the sounds of tempered height and harmonic timbre but also the complex sounds, and especially those constituted by inharmonic spectra. The spectral complexity is the reference characteristic on which all the relationships of internal relationship to this piece are constructed, granting a clear preference, even on a purely aesthetic level, to the most harsh and dissonant multifonical sounds. The overall phonic result is thus maintained in a medium high density threshold, in an area where the difference between harmonic spectra and inharmonic spectra is ambiguous, while the harmonic relations in the superposition of different timbres is simplified to the maximum to allow a clear perception of the timbric dough.

This piece is performed entirely in real-time from a classic clavier-type keyboard, and vocally. There are not pre-recorded tapes or interactive systems involved. The composer is the sole performer.

Recording of John Celona's Pacific Rims.

Recording of Wilfried Jentzsch's Paysages V. This work is part of a series of works called the "Paysage Cycle" which are pieces for solo instruments and tape. This work focuses on the violin and explores the different interactions between the violin and tape.

Recording of Jacky Schreiber's La Paz de Los Mundos in Memoriam Orson Welles.

Recording of Serena Tamborini's Per cieli e piani. The original idea was suggested by the experimental wish of demonstrating that a multiform utilization of few elements could create a definite form. Starting from a series of harmonic transposed relation, which could be stressed or implied, used in every level of the work, I have created a complex tissue of relations that represents the final result. T.S. Eliot in the poem "The Four Quartets" explains, both in the title and in the context, the analogy between poetry and musical composition. Besides, Eliot wrote in 1943, in "The Music of Poetry”: ".... I think that a poet can learn a lot studying music… I am sure that the sense of rhythm and of the structure are the musical features that most strictly affect a poet… I think that it is possible for a poet to work in a system which is parallel to that of the musical composer..." From a strictly poetical point of view, the Four Quartets are built on a contrast between the vision of time, like a plain continuous development, and the concept of meta-historical being, peculiar to our civilization: Man is placed in a temporal flow, fed by …

Recording of Jean-François Minjard's Petites Histoires Noires.

Recording of Florivaldo Menezes' Phantom - Wortquelle; Words in Transgress.

This piece was created in 1985 at the Center for Computer Research in Music and Acoustics at Stanford University on the Samxon Box Digital Concepts Synthesizer. It was inspired by an early morning walk in Vondelpark in Amsterdam and was made in conjunction with a film, also by the composer. The pigeon of the title "Pigeon Fantasies" is in some sense the protagonist of the film. Water is an important image in the piece. Great pains were taken to resynthesize the sound of water, using a program devised by Julius Smith. The program is a phase vocoder-based analysis/synthesis system able to track inharmonic partials. It was designed to model piano tones. Sound generating techniques included additive synthesis as well as digitally recorded and processed natural water sounds and frequency modulation synthesis. Both the music and the film were created with the intention that they could function separately as well as together.

Recording of Ronald Philippi's Proces.