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 …

The concept of "And Then She Said" evolved while I was working on the music for the production of "Medea-Plays" conceived and directed by Ed Isser at the Stanford Drama department. Ed had the ingenious idea to use four narrators, backstage, each reciting a different version of the Medea story in a different language (Greek, Latin, French, or German), while four actors on the center stage spoke in English. The rich musical possibilities that this idea offered attracted me immediately. With Ed's permission, I recorded the four narrators in the four languages. They spoke the text just as in the play, but I also included some variations such as having them whisper the text, or sing it on certain specified pitches. I then processed those recordings with a Lexicon digital reverberator, and combined them with some of the computer-generated sounds I had used for the original Medea score. The actress does not play the role of Medea; instead I chose to juxtapose the Greek myth and an opposite idea: the Judeo-Christian symbolism of child sacrifice as the ultimate religious commitment, as in the stories of Isaac and Jesus. The story that I adapted for this piece is that of Hanna …