Recording of Klaus Ager's C.L.B. 512 for clarinet and recording.

"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 …

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

The composition comprises of two sections: In the first, the quest begins. Tension is built by the use of glissandos and timbric glides that converge and diverge from certain pitches never resting for long. The quest or searching builds up until its inevitable conclusion, finding, and in the rythmic aftermath the very simple timbric and pitch material to be developed in the second section is presented. The second section develops the rhythmic pulsations. They mix and interfere with each other in progressively more complex patterns until the remembrance of the quest returns quietly. This material takes hold of the composition without entreily displacing the pulsating theme and both conclude turning the remembrance into reality. All sound materials are originally created patches for a CZ101 synth. The 8 step envelopes are used in 4 oscillator patches to the precise glissandi that comprise much of the material. The sounds were orchestrated in 12 parts which are the 12 stereo tracks later recorded. All the materials were arranged and sequenced from a Commodore 64 computer using Dr. T Keyboard Controlled Sequencer without tape sync.

The tape part is generated entirely from the recording and manipulation of sounds produced by an alto saxophone, giving a natural homogeneity between the live instrument and the tape. Many saxophone articulations were sampled on the fanlight and underwent treatment or the computer and were then ordered and controlled though the CML (composer page). At times, these were recorded (with DBX) unto the 29 tracks, and multi track reel (when complex testures were sequined) or direct unto the PCM. Editing was done on an otani while other events were created by using traditional tape techniques on revoxs. The work can be divided into equal haves of about seven minutes each. Beginning with the saxophone. Similar material is heaved at the beginning of each half o the tape however the first half beunes a much more introspective journey than the second.

When you reach "the zenith of your life", you may be tempted to look at your past. Moving forward to the future is not easy. Reflections on the past can occur spontaneously without a particular structure, and by fugitive associations. Memories of various episodes appear unrelated. For Jon II is a piece where the main form of music is based on a similar process. The various parts of the piece seem to lack obvious connections and a clear structure principle for the whole piece. Small episodes or "little musical stories" follow each other without any apparent sequence, which means brutal changes and sharp contrasts, as the most important characters of the composition. The piece is divided into 3 movements. The first two movements can be played separately. The designation of the 3 movements is I: vivace, II: Intermezzo and III: finale. For Jon II is the last part of a book that has 4 and is now complete. The other pieces are: For Jon I (fragments of a time to come) 1977; For Jon III (they extricated their extremities) 1982; Epilogue; rhapsody of the second harvest, 1979.

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 …

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 …

Recording of Zack Settel's Homage for Peter Lampheris.

Recording of Burt Warren's Racter and Eliza- A computer opera (of mistakes). For computer voice synthesis. Racter and Eliza are two computer programs which were early attempts at artificial intelligence. The computers were ran by feeding the outputs of one into the input of the other and they were able to interact. Using an Amiga computer little speech synthesis was used, and the voices were fed through a malfunctioning pitch to voltage converter; resulting the electronic accompaniment.

Recording of Bernard Parmegiani's Exercisme 3.

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.

Recording of Eric Chasalow's Left to his own devices (To Milton Babbitt at 80). In this work, the composer combined archival interviews with Milton Babbitt with a virtual RCA synthesizer. This music draws on quotations from Babbitt’s instrumental music performed by the sounds of the RCA. The text composited of phrases that Milton has spoken many times over the years. The composer has tried to intensify these phrases by building a dramatic, musical structure both from them and around them.

"Hapsis" is a cello room in its own right. This one indeed is present not only on stage, but also through transformations carried out using digital means, exclusive material of the band. These transformations are not radical, it was not for me, thanks to virtuoso manipulations to "reinvent" the cello, but on the contrary to constantly keep the imprint by the development of some of its characteristics. No unheard sounds, but the meeting between a cello and his double and a constant concern for balance between the two for what I hope to be a small tribute to this instrument. Work done at the INA-GRM in Paris.

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.

It moves..., It moves not... is concerned with rates of change. The initial solo shakuhachi section opens with a ‘model’ structure which is continuously transformed to reveal the potential for change within the original form and a certain inherent resistance to this process. The tape part, realised at the Birmingham University Electroacoustic Music Studio, aims to reinforce or contradict the types of movement in the shakuhachi part, whilst retaining a degree of independence. Much of the source material for the tape is derived from the sound of another Japanese instrument - the shamisen. It moves..., It moves not... was commissioned in 1986 by EMAS with funds provided by the Greater London Arts Association. In addition to analogue source sounds the tape part uses synthetic material, realised in Music-11 at the electronic music studio of Nottingham University.

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

Dedicated to Hélène Berton Sound Production based on texts from Marie Uguay Voices (by appearance order): Marthe Turgeon, Jean-Pierre Matte, Marie-Claude Trépanier, Gilles Laforce. The reading of the used texts suggest the creation of "poetic characters" that are so many views, words, interpretations stemming from the poetry. These caracters, which are four in number, were confided to many different voices: actor or radio-speaker, female or male, natural or transformed, alone or multiplied. In addition to this radio-style uses of the voice, are the electroacoustic ones by the use of interpretation choirs where the narrators echo the many-sided meaning of the poetry. The tittle was choosen in reference of an hospital room and also of this place, represented by the white colour-which included all the others-located between the birth and the death, maybe the ones of Marie Uguay (who was prematuraly dead in 1981 at the age of twenty-five), where all the virtualities, all the possibles are permitted. La Chambre Blanche was realised in 1985-86 at my own studio and at the studio of University of Montréal. This creation was possible following a grant from the Explorations program of the Canada Council. The texts of Marie Uguay come from the anthologies …

Recording of Philippe Blanchard's La Boîte de Pandore.

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.

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

This piece consists of connection of the "unit" of sounds. "Unit" has 18 minutes each and all. 12 patterns of the "Unit" have the original arrangement of sound-image, time-structure, reverberation, auditory localization, and arrangement of the series of time by the random operation (Monte Carlo simulation) or the structure used long tone only. The connection of the "Unit" was operated by the 3 kinds of random-numbers. (Uniformly random number sequence). There are 2 kinds of the water-tone. One is the sampled sound that was rotated and modulated of its waveform by digital sample. The elements of this sound were used from the recorded natural river sounds; sample late is 33 KHz. The other is the synthesized sound by FM tone generator. This isn't a natural sound. The group of the connection of the "Unit" by sampled sounds come on the group of the same connection of the "Unit" by FM synthesized sounds. The computer was used as the controller of these "Unit's", Aleatonic compose.

The composition uses the traditional structure of theme and variations in extended form and therefore could have also been called "Variations on a Children's Dance". It may be divided into four parts. 1) introduction of a part of the transformed theme 2) transformed variations on the theme and its variations 3) the theme 4) variations on the theme The theme (3) is a little Hungarian gipsy children's dance. I composed, realized and stored it and the variations on this theme (4) on analogue tape in 1983. The sound is produced by 24 analogue and 16 digital oscillators with the help of my own music program ILI (Interactive List Interpreter). After I built up a software communication system between different signal processing programs (Makrostikon), and after Paul Pignon`s Giant Fourier Transform program was ready to be used, I started to work on the piece in 1986. The new softwares allowed me to to continue work on the original material {3, 4). To start with, I digitized the theme and its variations (3, 4) made in 1983, and stored them in the VAX computer system of EMS, Stockholm. The working procedure afterwords included analysis, resynthesis, transformation and mixing. The underlying structure of …

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