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.

In Refrains, three types of materials, characterized and differentiated by rhythm, melodic contour, pulse and contour, collide and interrupt each other. The trombone and tape parts work together to articulate the form and shape of the piece resulting in combinations and exchanges of their materials and energy. The tape part is based on three source sounds: trombone attack with Harmon mute; trombone sustained tone, open; double-bass pizzicato. Refrains was composed for and dedicated to, Martin Harvey.

This piece may be considered to be musique concrète. It also incorporates the features of Spiel-Hören. The female voice is used both as an exclusive material for the digital signal processing, and as a means for dramatization of the excerpt from Jan Lechon's poem Rendez-vous. The tape part is juxtaposed with the string quartet which gradually diverges from the tape, establishing its own distinct musical idiom. The voice has been digitally recorded, then cut into short fragments. Each fragment has been processed by a variety of signal processing software and hardware. Subsequently, all splices of the processed data have been pasted together and mixed into the four track tape. The string quartet parts are written with the varying degrees of rhythmic freedom. The string quartet ultimately diverges from the tape into baroque stylistics - these, however, being of an unusual pointillistic texture; other compositional techniques are also used to deform the original baroque template. The piece confronts three basic compositional problems: determinism vs. aleatorism, meta-conventional treatment of musical idioms, and use of different levels of deformation as a means for musical development. My deepest gratitude goes to Dorota Kwiatkowska-Rae, whose voice has been used both as material for signal processing …

Recording of Reinhard Lakomy's Die Himmelferhrt des Salvador Dalí.

The electroacoustic piece 'Etapper' ('stages') is based on a text selected from the novel 'Kontrapunktisk' by the Norwegian writer Ole Robert Sunde. In the piece the spoken and whispered sounds from the writers reading of the text have been transformed, mainly by the use of digital and analogue filtering, echo and reverb techniques. Transitions of noise, also derived from these vocal sounds, have been used to mark the hidden transfigurations that lead the development from one stage to the next. 'Etapper' is commissioned by The Norwegian Centre of Writers. It received 1. and 2. prize in the International Rostrum for Electroacoustic Music in Stockholm 1988.

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. …

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.

All durations and pitches have aleatoric (random) values. Only pitches and durations of the form are constructed by another system. The source Material is created by some frequency modulated Sinus generators. You can hear this material at the beginning with a crescendo. The basic form is created directly out of this material by using two kinds of technique: 1. Subtraction (Filter) 2. Addition of filtered Material 3. Transposing and adding the new Transpositions. All of the structures of this piece are created by using these 3 techniques in concrete (the 3 transpositions of the basic form) or an abstract way (look to the upper line of the partitur). The concrete way: The basic form uses 3 types of filtration high (in the area of 5000 Hz: a), middle (between 500 and 800 Hz: b), low (in the area of 200 Hz: c). The basic form is created in this way: source material 30sec; 1a: 50sec; 1b: 30sec; 1c: 60sec; 2: 10sec 2+1: 40sec; 3: 20sec 3+1: 70sec. This form is used in 0.5 and 1.1 Transposition and 1.6 retrograde Transposition. This 3 Forms are positioned in that way, that they could culminate in the Transposition (look point 3) This construction …

It is really chance - which does things well - if the story of La Hache, talmudic origin, is in the company of secular and sacred texts, chanted, recited, sung in Arabic and Aramaic, this language spoken by Christ and his disciples, which is only used in a few churches in the Middle East. The processing of the voices is similar to what I do in my other acousmatic compositions, but the music was made using microcomputer to manage, modify, treat both instrumental sounds sampled and memorized, sounds synthesized.

Recording of Emily Brant's Tuneless Circles.

This piece continues the series of works begun with Hora, Harmonica, Dies Harmonica, and in a purely graphic form, Calendario-Harmonico. It involves subdividing a given sub-audio period into a harmonic part and making the resulting rhythmic structure audible through heights in the same order. Whereas the previous works used the first 12 harmonics of the fundamental audio and sub-audio chosen, the structure of Octo in Primis comes from the subdivision of a fundamental period of 8 harmonics corresponding to prime numbers 7 to 47. The heights which result are part of series of partials, harmonic series of 20,83 Hz (10,000th harmonic of the period of 8 minutes). These harmonics also correspond to the prime number from 7 to 47.

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.

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.

"Industrielles" consists of a series of continuously evolving structures which resemble variations. Realized in the computer music studio at Northwestern University during the early winter months of 1988, the work is intended to reflect the stark, alienating atmosphere of a deserted industrial landscape at night.

Recording of Heinrich Taube's Wilderness of Mirrors.

Recording of Henri Kergomard's Drân.

Piece in six movements of concrete aesthetics, but extended by other sound objects of transformation and synthesis of time. The writing of the stereo space is essential for the diffusion and spatialization in concert on an orchestra of speakers (acousmonium). The listener can hear the excerpt of a poem in Italian, which says: "The pennies, that come the sous, and I will drunk an entire nation" It was composed at the Conservatoire de Gennevilliers, and created in 1989 at the INA-GRM acousmatic music cycle at Radio France.

Recording of Chris Chafe's Backtrace.

Shimmering is one of two pieces that fell out of an earlier piece. At the outset it consisted pretty much of just a few strands of interesting musical material, material that seemed to invite a straightforward presentation of about five to seven minutes. While working on what I thought was to be a one-idea piece. I found myself treating the material more and more like modeling clay -- stretching it here, tearing off a dab there, sticking it on somewhere else, rolling it all into one big ball when I got stuck, pulling it apart again and again, continually molding it into different shapes. The result is something I never would, and never could, have anticipated. None of the threads of melodic filigree were actually composed; in the process of mixing patches of textures they seemed to just happen, in turn suggesting larger stretches of that and other kinds of textures. I feel the piece is both an exploration of the nooks and crannies of the composition process, and of reactions and responses to the particular and often peculiar ways in which the medium of computer music suggests and informs that process. In the final analysis, the piece is less …

The composition is a soundtrack for a video piece, realized using contemporary computer animation techniques. The 6 main shortly, condensed movements are: I. Think/Sing, II. Open/Close, III. Bed/Dream, IV. Feared/Frightened, V. Blood/Faces, and VI. English/Blond.

"Prometheus Kommt" is a composition commissioned by NOK Korea. The premiere of the play took place in 1988 at the Olympic Stadium in Seoul. The first part (the legend of the fire) was played in monophony during the torchlight procession and the transfer of the Olympic flame; the second part (Harmony) at the final ceremonial by about 2000 speakers. The different sounds (trumpets, tamtam, vocals) were produced and ordered by a program on VAX 11/780. It was necessary to take into account, during the composition, the immensity of the stage, the need to use simple structures (given the number of listeners), the strict organization of the unfolding and the predictable atmosphere in such a situation.

Sproyt Niesko is essentially a work for amplified harp and flute, and electronic processing/accompaniment under computer control. One of the main ideas of this piece was to extend the duet's orchestral range by creating a kind of continuous timbre space, including at one extreme the instruments' natural acoustic sounds, and at the other, wholly transformed and/or synthetic sounds, whose timbres are nonetheless "characteristic" of their origins. The sounds of the duet are at times un-altered, at times wholly transformed, and at times accompanied by very similar synthetic sounds. Precise control over the electronics (timbre) is maintained by the computer, which is led by the performers while following its "electronic score". The computer executes/coordinates the following: reconfiguration of the signal paths (harp, flute, and synthesis), dynamic parameter control of signal processing modules (harmonizer transpositions etc...), reassignment of the performers foot controls to various control functions which control the above, real time analysis of the duet's performance (envelope following) for control over the electronic accompaniment and its synthesis parameters. Sproyt Niesko is intended for live performance. The electronic score is written in Patcher, a software environment developed by Miller Puckette of IRCAM.

... From one shore to another, edge to edge, moving surfaces, irrigated, improbable, architectural, desert, brutal, volatile ... Organic solitudes ... Swarming Cloud ... Travels ... Inner sail crossing, Towards absence ... Towards the immisson ... To the infinity ... Towards... Meetings / Resurgences at the four Cardinals.

The work "Reading a tarot" was created thanks to the use of granular synthesis in real time. It was generated after asking the tarot how to create a piece of music using granular synthesis. His answer about time past, present and future, suggested a sound journey of large proportions that was relatively, easily achieved using GSX and GEMSKX, two granular synthesis programs available in the Simon University PODX system.