"Shiluvim" was composed for the choir "Ankor" and commanded by their leader, A. Meroz. The work is conceived on two levels of combinations: 1. That of electronic sounds and a live performance of a children's choir. 2. The combination of two chords, the minor and G major, while a seventh chord in E-flat mixes with them. The text is composed of syllables that help bridge the gap between the children's voices and the sounds on the tape. Work done at the Studio of the Hebrew University.

Sinfonia Concertante is modeled on the dramatic essence of its classic namesake: the interplay of the chamber orchestra and the computer music narrative; of sweet consonance and angry dissonance; of innocence and duplicity; of pleasure and sorrow. The text for the taped narrative heard through the piece is formed from excerpts from ten letters written by Mozart from Mannheim and Paris to his father in Salzburg during a nine-month period from November 22, 1777, to July 9, 1778. The text was digitally recorded in English translation by German actor Stefan Hurdalek, whose voice also served as the source for all computer music heard on the tape. The taped computer music was realized at the Center for Computer Music at Brooklyn College, C.U.N.Y., while the composer was guest in residence from February to mid-May, 1986, at the invitation of Charles Dodge, Director of the Center. Special voice analysis/synthesis techniques, developed by composer Paul Lansky of Princeton University, were utilized to achieve the pitched, talking-singing timbres and events. The orchestral score was composed at MacDowell Colony during six winter weeks in 1986 in New Hampshire and, later, five spring weeks at Yaddo in New York. The piece was commissioned by the Cleveland …

This piece is originally for live 8-tape track mixer, the various tracks constituting as many terminals that the interpreter can play. The version presented here is a mix made in the studio. The sounds on the tape are deliberately left pretty raw, so as to be flexible in mixing and broadcasting. In order to offer interesting gaming possibilities, they also come from a wide variety of sources: concrete sounds, analog and digital synthesis, and digital processing, made at the Pierre Henry Association's Studio Son / Ré, and at the Center for Music Experiment. from the University of California San Diego.

Sonatu(h)r (1986) belongs to a more vast musical work (of a composition class type), designed for magnetic tape, piano and an intimate, non spectacular practice of sounds. Sonatu(h)r is short for Sonant, Sonata, Nature, Ur (the universal basis of culture) and Uhr (time, hour). Thus, the musical discourse is formed by the display of archetypal elements defining various musical cultures of the planet, or in other words essential rhythmical sounds of musical modes (the very basis of music), isolated from their cultural background, evincing the idea of gravitation centre as a universal, primary, initial aspect of music (sounds gravitating around a permanent C centre which is, at the same time, in the grave register and the fundamental tone of the other sounds displayed as resonance harmonical tones). Also present in the rhythmical archetypal plane is the iambic pulse which corresponds to the universal cardiac and respiratory beat (of all biologically superior beings). These archetypes, these foundations of planetary musical cultures, appear as natural occurrences, as far as timbre is concerned, in the form of cricket chirps, the music this edging between a natural and a cultural state. The work has a cyclic form (in the hypostasis of an endless column) …

A study in timbres which develop and evolve in space, where pure electronic sounds intermingle with processed trumpet samples, mainly with speed variation and mix in many strata creating rich polyphonies and/or textures. The goal of the piece is to create a suggestive atmosphere.

The cube is the representation of the sound block, it is composed as follows: - creation of a material - creation of a writing - spatilization - total interaction between the sound micro-structure and the shape of the sound block. It comes in different forms (perspective) according to its location in space. This is not a variation of the sound block, but its presentation in a form each time different. The whole of the symphony results from the composition of the sound blocks. It is from this concept that I have developed a methodology of work in three stages / three sequences, of which the last "souprematika" is the creation of a new musical aesthetic. The sequence 3: Souprematika This third sequence is characterized by the creation of digital sounds from the analysis of the sound spectrum of the raw materials of the sequence 1, and those of the sequence 2, with the aim of creating a melodic mass. The whole piece is computer controlled, its extreme precision allows me to have control over all the musical parameters: stop, changes of frequencies, cycles, dynamics, heights, intensity, etc ... ) The themes are exposed without their developments. Use of tone as …

"Spoke" is a phenomenon observed in the rings of planets such as Saturn and Uranus. These are radial rays that intersect the layers of the ring. This movement of the rings is very important in the composition of my acoustic space, where you can have the impression of zero gravity in the dark with your eyes closed. When the "Spoke" is done, the radial lines can sometimes be motionless, other times they oscillate slowly responding to different speeds of each layer of the ring. In a space its horizontal movement is the most natural, so that the rotation and acceleration of each quadraphonic sound forms an acoustic ring, while the sound extends radially in depth and width of the stereo bi or four-dimensional. In this way, when the horizontal movements form an acoustic ring, the depth and width form the spoke.

Steinelied (song of stones) is the only composition where I used exclusively synthetic sounds, which were produced on a VAX in the studio EMS (Stockholm 1986). The meaning of the title is that the chips, the crystals of silicium, namely the stones try to sing and to show absurd emotions. For the frequencies of the musical intervals I had choosen (with one exception) prime numbers, so that all intervals are "incorrect" from the point of perfect tuning.

This composition is based on a magic square, which is on a copper engraving by Albrecht Dürer, entitled "Melencolia I" (dated 1514) The figures 17 and 34, resulting from the different additions, represent in this magic square as well as in my composition of the structural values. Numbers penetrate the composition in multiple ways, take the foreground to disappear to become elusive, rise to the surface to fall back into the vagueness. But it is still the magic square of Albrecht Dürer, without overturning or shimmering. It is not a matter of twelve-tone or serial technique. According to the rules that I asked myself, the figures of the magic square were joined by lines and geometric shapes very varied resulting that inspired me strongly by their symmetrical beauties. At the center of the composition, I worked with fifteen "mutants" of the magic square that originated from the fact that I always took another number (1-16) as a starting point. They do not have the same magical qualities, but have the same beauty of symmetry. I put them into a computer program to focus on "unreal" atmospheres as in a perpetual meditation, the composition circulates as part of this magic square.

Extraordinary system of understanding and classification analogical, concrete and figured of the universe, the tao • sme allows an acousmatic writing based on the materials, the energies, the transformations. Cyclic succession of five elements, natural forces, destroying each other, TAO causes mutations, substitutions of symbols, concrete indices because there is interdependence between them. It is the regulator of the alternation. The following comments, written in a rather long post-publication period, do not reflect the "author's intentions" which are not of importance, but an organization of meaning-for-me, noticed today, long after the moment of music-pleasure. FIRE, second element 1986 Pierre Philippot Action This coin tells a story. It is a narration, the second stage of knowledge, with often metaphorical characters that evolve and intertwine according to the two sides, apparently opposite, of the same substances: inside / outside, matter / artifice, Reality / Symbol, with variations of "listening points" (framing) For example, the (external) breath of the fire and the (internal) breath of the man, the small natural explosions (matter) and their synthetic imitation (artifice) with the big explosions (zoom) of the fireworks, which can also be metaphor of war contemplated as a show to the applause of each camp, through …

Recording of Christopher Penney's This Transformation You Have Wrought Upon Me.

A piece created on the digital system "UPIC" invented by the composer Iannis Xenakis. It was awarded the prize for UPIC based composition of the “Center for Contemporary Music Research (KSYME) in Athens and then performed at the electroacoustic music festival of Bourges in 1986, where it made an impression. The next year it was awarded the "residence" prize in the international competition of electroacoustic music of Bourges. Since then, it has been performed in many countries.

"One day, the other" work composed in 1986 in the electroacoustic music studio of CNR Amiens is a series of paintings passing like dreams, melting musical and anecdotal sounds.

This work is based entirely on the composer's closely microphoned voice and is a kind of self portrait.

Recording of Charles Amirkhanian's Walking Tune (a room-music for Percy Grainger). Inspired by Grainger's Walking Tune for piano solo, Amirkhanian uses a Synclavier digital synthesizer to combine sounds from multiple locations, along with the sounds of a violin and voice. The violin and voice part is performed by Elizabeth Baker of the Los Angeles Philharmonic.

Is a collection of fantasy and collected from a few excerpts of my favorite composers. The music begins to take shape as a kind of mask propelling its musical fragments. Intensive use has been made of the Vax numbering system in technical production. The programs used were: Chant, developed at IRCAM by Xavier Rodet; used for the synthesis of speech and song; Bada in conjunction with the mix. A transformation program developed at EMS by Paul Pignon.

The work was written in September and October 1985. The work was born from its first note, a violin note generated by computer and reverberated beyond any reasonable limit. The "off-tone" parts are really based on a 13-tone diatonic chord with some incursions into 48-tone diagrams. "Water Music" was performed on Stanford's system synthesizer (the Samson box).

In this work, the sound material has been worked in such a way that the live soundtrack and the tape are merged into the sound result and so that there are always new "exchanges" between the two partners.

"Wet" mainly includes computer-processed sounds. The rest of the sounds are produced by synthesizers controlled by computers and an acoustic violin.

WITH LOVE, 1986, a fantasy for live cello and decorated cello cases, in memory of Myrtle Hollins Adelberg, by Vivian Adelberg Rudow, won FIRST PRIZE in the 14th International Electroacoustic Music Competition, Bourges,1986, program division. It won with straight ten's. Rudow was the first woman to win a first prize in the Program division of the Bourges competition and the first American woman to win any first prize. This work was composed for live cello and stereo tape. For the first performance, January 1986, Paula Skolnick-Virizlay, cellist at the Baltimore Museum of Art, two separate tracks were transmitted to two separate speakers, one inside decorated cello case "Electronic Mom", the other inside decorated cello case"Electronic Woman". Amalie Rothschild, Baltimore artist, created the cello cases. The sounds coming from the different speakers represented the feelings of that specific woman. All the sounds from "Unmarried, spirited, flamboyant, "ELECTRONIC WOMAN" were electronically reproduced by the composer. The sounds from "ELECTRONIC MOM" were spoken thoughts from 23 people in interviews about their moms and moms sharing their thoughts about being mothers, original music composed for the work, plus fragments of earlier works by Ms. Rudow. The cellist sat between the two ladies and the …

Interview with members of the Aldonian Club, discussing their organization and its history.

Audio cassette from The Black Academy of Arts and Letters recorded during the Black Music and Civil Rights Movement concert held on January 12, 1986 at the Music Hall in Fair Park. The theme of the concert was "Pilgrimage to Freedom: A Reflection of the Civil Rights Movement Through Song" with narrator Earth Kitt. The tape features two tacks of well recorded choral and spiritual gospel music.

Interview with Louise Fowler Himes, who moved to Cedar Bayou in 1919 as a teacher. Mrs. Himes discusses life when she first moved such as her teaching and going to movies and games with other townspeople. Among other topics, Himes answers questions and describes her experiences with influenza, malaria, the Ku Klux Klan, and the hurricanes of 1900 and 1908.

Jazz Lecture Series presentation by George Simon on February 18, 1986 at 9:30AM at the UNT College of Music. Includes lecture by George Simon, interspersed with questions from the audience.