Like colours, the sounds are composed using a keybord like brush and time like canvas. The work has two parts: first the painter freely paints an abstract subject and second he compose a defined subject. This work was originally composed for voices, bassoon and tape but this is the unique realization. The sounds were generated using additive, frequency modulation, ring modulation synthesis and sampling.

Recording of Thomas Gerwin's Alice. This work is inspired by special and unique personal memories, which cannot be restored later in life. There is pre-recorded audio of everyday sounds and voices and samples, which interrupt these field recordings.

Allegory (11’52”; 1987) is my second composition in the medium of computer music. It was created at the Brooklyn College Center for Computer Music on a Sun 3/160 computer, using the Csound synthesis program and Fromp, a music composition program developed by the composer that generates musical fractal structures. All of the sounds heard in this piece, pitched or otherwise, result from a filtering of white noise. The idea behind Allegory takes its inspiration from the music of the duduk, an ancient Armenian double reed instrument of a particularly haunting and beautiful quality. Often in duduk music, there are two players. One plays the melody while the other, through circular breathing, plays a continuous drone on a single pitch. The melody emerges from this drone, plays beautifully and all-too-briefly, only to return inevitably to the drone. In Allegory there is an ever-present drone composed of thirteen frequencies that are the source material for the entire piece. A fractal texture based on these frequencies emerges from the drone and grows to prominence, only to undergo a transformation: certain elements of the fractal die away while those which remain align themselves and synergize into a new quality, the sensation of a single …

Recording of Anna-Elizabeth Hinkle-Turner's American Made. It is an electroacoustic piece using various English and Japanese sound fragments to recreate the sound of a motorcycle's exhaust.

Recording of Hans Ulrich Humpert's Approcci a petrarca. This work is made up of five sections, which are voice and electronics. The piece features many sounds such as voice, electronics, writing with a pencil, and sound effects.

Recording of Nicolae Brînduș's Archaeusin Euphonia. In this work, the electronic-music is a play back for the performance "live" of the musicians. Their involvement in the play is more or less free or proposed by the leader of the group. The recording is a version dedicated to the group "Archaeus" of Bucharest conducted by Liviu D_nceanu.

This second scene begins with Archimedes, now a young man, emerging from the laughter of scene i; he begins to realize that he undertands mathematics, more than undertands it, he can master it, create it, think it, live and breathe it. The music is composed for a wide variety of geometrical images being drawn and animated on the planetarium dome, in synchronization with a live mime who with his gestures, causes the images to appear, to move, to transform and to engulf. The music is designed to capture the gestures and the various moods of Archimedes as he quickly proceeds from his initial discoveries, through exhilirating errors and fantastic false starts, to his first genuinely important geometrical discoveries. The scene concludes with a final image of a sphere inscribed in a cylinder floating out over the audience; Archimedes felt this relationship - the ratio of the sphere's volume to that of the enclosing cylinder is 2:3 - to be his most significant mathematical discovery. Once again, the electronic sounds were generated by the composer's MUSIC30, and subsequently developed by a variety of signal processing routines, some by the composer and others that are generally available as plug-ins.

As always the old dilemma: does the music follow the words or does it pursue a concomitant and independent discourse? Here, the text is a source among others (like the timbre of the voice, the alchemical transformations of the sound ...). Source of images, meaning, and especially space: interior space of sensations, emotional calls, silences behind the words and still real, external space, perceived in the text. The music responds, as soon as the recording of the voice, by a set of different spaces. Polyphonic piece, polytimbrale, whose meaning is to be found by the writing of space and timbre and architecture by relationships evolving from discontinuous to continuous, from mass to line, from near to far, from matter to vibration, from obscure to clear, from profusion to nudity. Each piece is organized as a fractal of the set around the horizontal axis (left / right space) of the central piece and develops, through one or more of these trajectories, a series of variations around the same theme: l space / words, space / stamp. The Sound Space. Materials: studio 123 Ina-Grm (Paris) and studio "Paradox" of the RTBF (Brussels) Sound recording and mixing: Studio "Métamorphoses d'orphée" from Musiques et …

In Asi el Acero, I tried to marry two very different sound worlds: the steel drum, generally associated with Caribbean music, and the world of electroacoustic music, usually associated with technology, computers and synthesizers. In order to find a coherent ensemble for both, I have done important research in the classical repertoire of steel drum, music by nature very "noisy", very rhythmic and very repetitive. From there came to me the idea of ​​using small rhythmic cells to adapt the fixed idioms to the instrument itself, so its role in Asi el Acero is a very precise rhythmic direction. Concerning the sounds on tape, I used them as extensions of the instrument played live -as a giant steel drum band- whose role would be to accompany the instrumentalist and, more importantly, to articulate the rhythmic structure and produce strong accentuations to give impetus- or in terms of Caribbean music- to "kick" the principal instrumentalist. These tape-like (or computer-controlled) sounds are steel drum sounds, sampled and processed just like synthetic sounds. From a rhythmic point of view, the piece explores the use of the legend and the medieval atmosphere. In plain language, this means that the small rhythmic elements are combined …

Recording of Patrick Fleury's Attracteurs Étranges.

Recording of Jean-Claude Risset's Attracteurs Étranges, performed by Serge Conte, is a computer-produced piece for clarinet and tape. The piece has four sections of unequal lengths: I. Initial (about 7 minutes), the sonorous pitches gravitate above a high B - a point attractor; II. Vocal (about 2 minutes and 35 seconds, A brief encounter between the clarinet and the voice of Daniel Arfib, slowed down, noisy, hybridized with the instrument; III. Vertical (about 5 minutes 20 seconds), the clarinet energizes strained string-like filters, then turbulent multiphonic sounds echo deep, charged inharmonic sounds; IV. Horizontal (about 6 minutes and 30 seconds), here melodic aspects dominate: the clarinet dialogues with its illusory shadow, some figures appear at different scales, such as in fractal structures. The piece was commissioned by ARCAM at the request of Michel Portal, for his "carte blanche" during the Biennale d'Hy res 1988. It appears, recorded by Serge Conte, on the CD Prix Magisterium, Bourges 1998, Cultures Žlectroniques 11, IMEB / UNESCO / CIME. The soloist dialogues with a band which at times echoes him, and which at other times contrasts with him. Part of the sound material of the tape comes from musical phrases recorded by Portal and …

Recording of Chris Chafe's Backtrace.

Historically, Balkanization refers to the nationalistic division of the Balkan peninsula in southeastern Europe into many small, antagonistic states in the years preceding World War I. For this piece, I have taken several very brief excerpts of traditional village music from Bulgaria and Yugoslavia, and have separated, put them into various levels of conflict, and have finally tried to reconcile them as much as possible. The tape from which I have taken the excerpts which form the basis of Balkanization was compiled by my sister from materials she collected on a trip to Yugoslavia and Bulgaria in the late 1970's.

The title is only a loose reference to the story in the Bible. What interests me about the story is the idea of a large mass of people knocking down a wall through the use of sound. The story gives credence to the notion of music as a catalyst for social change. Beyond the sheer physical impact that a large number of sounds contain, the music is a form of language which is capable of creating thoughts. The power of music lies in the simultaneous physical and intellectual seduction of the listener. In the composition, four hundred tracks of sound are often assembled to create the sense of a large mass. Three hundred and thirty-three tracks are created by dividing each of the seven octaves into fourty-eight notes. Brass, string, and wind instruments from the Western musical tradition and from other cultures are combined to create these textures. The remaining tracks are made up from the unpitched percussion instrument families. The working method allows each track to have its own identity in terms of frequency and tempo. The relationship between each individual layer and the mass effect can act as a metaphor for the relationship between the individual and society. …

- Third movement of the suite "Boustrophedon ä'e'i". Order from the city of Marseille for the Bologna Biennial 88. Intrauterine journey of the modern poet whose heavy and unique obsession is to break the jar of the interior in order to discover the Woman. Sounds then the Sacred Noise, the first awakening of the Tectonic Blacksmith: "What is heavy, is low! What is light is high!", First awakening of the Water-the-unfathomable: "Who can imagine the sea before the first rain? What sound was thunder at this time? "

This is a real-time performance of computer. This piece's "Structure" (changing with time of the density of sounds, distribution of sound-frequency, character of the sound-space, etc) was decided by translation and adaptation of the results of Monte Carlo simulation about the ecological concepts -birth, growth, death, etc-. It's used here to suggest a systematic but multiply stimulated study of materials and their organisation. Many scales and tunings consist of re-construction of the frequency-values as the results of random operations. And this scales change with time.

Rhythm is a vital characteristic of man and nature around him. We are not always able to perceive every level of rhythm. This often masks a reality that some of us, despite the consistency of some ontological visions, feel like escaping power, love, and the senses. "Buleria" is now a being independent of me although it is me who shows it; it is a fruit of my thought, to which I am no longer the only one to have access. "Buleria" is, from the beginning to the end, an algorithm that takes shape by itself after being thought. He is there, he is alive.

Busk was commissioned by BRMB Radio as a celebration of Birmingham, and the piece attempts to achieve this using recordings of buskers along with other environmental sounds which we recorded in the city. Rather than direct the listener to recognition of the music we recorded, our interest lay in the possibilities offered in the transformation of these sounds. Whilst such material might easily suggest a narrative or other extra-musical meaning, we didn't aim to explore this. The "journey" which the listener takes, then, is a surreal one as images melt, distort, change colour or become sharply focused. The original recorded music becomes part of a bigger musical discourse and never appears as musical quotation, since even the most familiar sound is transformed in ways which lead the ear to concentrate on shapes and gestures derived from, but often unnoticeable in the original. Composed in 1988, Busk won a prize at the Bourges Festival of Electroacoustic Music and a Special Mention in the Prix Italia.

Opening music for a Café-Theater show. The daily observations of a girl prolonged, a woman who still behaves as a young girl! From tea room chatter to a very, very, very… meager delirium.

The chalice represents a cultural icon of both religious and scientific significance. Renaissance painters used the chalice as an object of study for the newly acquired understanding of perspective. In particular, Dürer's Studies of a Chalice presents the object in progressively rotated angles in a way startlingly similar to many computer graphic presentations. This work attempts an aural analogy to perspective changes. Software written by the composer takes musical material and audits it through weighted dimensional 'filters'. The work was premiered at Merkin Hall in New York and subsequently performed at the ICMC, SEAMUS, and CCRMA Festivals. In addition the work has received performances in New York, Los Angeles, Baton Rouges, and Columbus.

Chronicles comes from certain possibilities offered by the technique of sampling A certain return to concrete music where the spectral content of sounds is particularly rich. The materials used here are mostly instrumental items. The sequence of different movements is treated as a succession of news items belonging to the same heading, without having a systematic relationship between them (literary chronic <-> chronic sound). The score is interpreted with 4 musical objects sampled on AKAI S900 and two types of sounds created respectively by Additive Synthesis (FFT) and Frequency Modulation (FM).

This work belongs to a group of seven works that is not finished yet. This group of works was originally thought to evoke musically the book of Revelation in the New Testament. However its context was somewhat enlarged and turned into a meditation on the meaning of the word "Revelation" itself. The Eternal City uses as text excerpts of the twenty-first and twenty-second chapters of the book of Revelation, in the New Testament, in the latin version. This work was first composed at the Center for Computer Music at Brooklyn College, and at the Electronic Music Studio A of Stony Brook University. This version was revised at the Electronic Music Studio of the University of Aveiro, and at the composer's private studio.

Cobra (1988) was commissioned through the Danish Art Council by the Randers Art Museum in celebration of the museum's 100th anniversary and realized at DIEM's studio in Aarhus, Denmark. The piece has since been presented at the Rostrum for electronic music in Stockholm, the Bourges festival, the International Computer Music Festival in Columbus, Ohio and as a ballet at the South Bank Centre in London. The work is available on CD on the Da Capo label. The sound material is derived mostly from the voice of the Danish alto, Hanne Stavad. The material has been digitally processed using the Karplus-Strong algorithm and cross-fading to create hybrid instruments - essentially crosses between sung vowels and plucked string instruments. The work is a strict twenty-voice canon with a delay of 1.5 seconds between each voice. These twenty voices are distributed between the four speakers in a large circle.

A(cou)s (Th)matic is an acousmatic piece with an asthmatic theme. The Dual nature of the title is paralleled by a constant exploration into various polarities such as inhalation and exhalation, comfort and discomfort, internal and external body space. These provided a guiding force to a mainly invisible structure, the most obvious aspect of which is the constant rising and falling of each section, which was inspired, by the rise and fall of a breathing chest. From an aesthetic point of view I soon became aware that the human voice was loaded with possible interpretations and meanings. I had to define a personal vocabulary, which avoided connotations ranging from the erotic to the groans of Sumo wrestling! Having achieved this the main technical obstacle was actually recording the sounds, which my voice, as sole source, produced. The change in dynamics of a wheeze, for example, was quite surprising and certainly more exaggerated than the accepted problematic singing voice. The piece was also physically exhausting at times, especially in the last section where 22 layers of wheezing had to be realised as I intended.