Issuing form the structure of the piece it is suitable both for pre-acoustic and electronic setting. The Musical theme is formed by a three-attack section. The first part is a sort of presentation of the intellectual and structural message of the composition. The thematic core of the material of the whole composition is sounded in this introduction. Rhythm and melody are dramatically simple, and the counterpoints are still contrasted with each other at this place. Everything that follow is nothing but varieties further development: picking out and awe drawing of certain elements or a new way of combining of more elements -metric variation and that of character and meaning just as well.

Birds, at random, create their landscape This is a complex sound object found (in the manner of Duchamp) in a privileged sound space.

Texts by Sophocles and her translation by Hölderlin. Fragments, snatches, decomposition, bursts of voice. Sometimes it mingles with that of an invisible choir, then of nakedness, stripped of its flesh, remains as a trace or emerges, alone, through a song of love of pain and solitude. That of Antigone buried alive for doing the forbidden gesture to be in agreement with herself? The musical writing of the band is based on the states of the voice material of the singer obtained as a result of various electronic and digital processing. The soprano part is itself a voice material by its dynamics and its colors to become singing, then alternates between these two states. First movement: Alle tyrannis Alle tyrannis polla t'all 'eudaimonei xaksestin aute Dran legein thabouletai Second movement: The child cries in a shrill voice', As a bird grieves to find its empty nest, Abandoned from its untold grave, falls, underground remains where to watch forever. Seeing the naked dead, she began to groan, and she cursed with dreadful imprecations the one who did that. For a long time they swept away the dust, baring the wet body until the orb of the sun came to bow straight above …

In every day of his life, a man is surrounded by innumerable sounds that attract his attention more or less. Often he does not notice them, either because they are repeated frequently and tiringly, or because these sound structures do not mean that they are provided with aesthetic components. "Supermarket Symphony" represents the stylized reconstruction of a one-day sound environment fragment. It is a soundscape that takes the form of a non-mandatory tracking of musical numbers, a form often seen in television programs. The purpose of this sound project is an investigation of the criteria that may be useful in defining the idea of beauty and artistic creativity and also represents an attempt to revive the old idea of aestheticizing reality.

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 …

Upon heels of the introductory resonant gestures, the Griffith Observer proceeds to explore a granular network of sound. Following a brief retreat, the observer steps into a dense space, highly kinetic in the actions of its minute components. The Observer soon climbs to an aural plateau from which the opportunity is taken to reflect upon its accomplishment. A strange, new atmosphere soon forms around the Observer, agitating the prior calm space with wide sonic clusters. After a grand shift in pitch, a settling of mood soothes the Observer as it is guided through the passage of a more gentle space. The Griffith Observer, upon discovering a path fluid in timbre, finally diffuses into the very space initially attracted its attentions.

This piece is a search for and resolution of dialectical opposites; compositionally, it swings between the poles: order/chaos, loud/sift, atonal/harmonic, use of timbre from an ancient instrument/electronically generated. The middle ground is sought for by transformations sometimes possible only through new techniques: the results of harpsichord instrument exploration were in turn sampled and electronically worked. Sometimes techniques were turned on themselves; having sampled a tone cluster, it was available on each note of a keyboard. Clusters of clusters were made. Similarly, rhythmic or melodic structures were nested in several layers at times. These results were obtained by feeding an output back into the input of a given process. The harpsichordist relates to the tape in a quasi-improvisational manner. Although the timing and pitch material is exactly notated, he/she is given considerable latitude in performance. For example, the pitches are notated in a square, with the rhythm and ordering "randomly" improvised. In this way another "feedback loop" is created; the improvisor must use his/her ears and think fast in order to create a proper dialogue with the tape.

It is a work in two very different parts, with a principle of unifying symmetry. In the first part "Dit à dit", for which the computer was used as a recording tape recorder in real time, the separated elements are combined to form a symmetrical chord (vertical symmetry). In the second part "Pas à pas" in which the data is entered into the computer step by step, the clusters become horizontal so as to form chromatic series. These series are gradually interrupted by symmetrical lateral displacement (horizontal symmetry).

This work involves contrast; the design is primarily articulated by the treatment of ambiguous, complex, and evolving musical motion. The sense of motion in this piece might be aptly described as the result of an ever-increasing energy state. Like a cold heavy liquid, the beginning music flows, but its motion is deliberate, always on the edge of stillness. Attention is drawn away from elements of progression to focus on the changing colors and minutely shifting surface patterns. This gradually gives way to a more heated, active confluence. The progression is from the deliberate beginning, into off-balance, slow motion dance music, through oscillating, vibrating activity, to kinetic, driving music which breaks through to a floating, free state. The title could be interpreted as a representation of this ever-increasing flow-music that always seems to rise and turn in a complex balance which eventually produces a clear pattern of increase. Along with the exploration of varying states of motion this piece is also concerned with an interplay along the continuum from clearly pitched sounds to highly complex, noisy sounds. The piano is primarily responsible for the clearly pitched end of the spectrum while the percussion explores the noisier domain. The synthesizer's role is …

In "Luz de Invierno" I consider the additional resources to the interpretation (the cello processing and the pre-recorded material) as an extension of the instrument in more than one sense, since the sounds that the track contains, were originated in the cello itself, to then be transformed in the laboratory through various procedures, until a true extension of both the record and the timbre of the instrument itself. The interpretation also proposes alternatives, by using contemporary instrumental techniques that discover the unsuspected and vast potential of the cello, enriching its color palette. "Luz de Invierno" is a stimulating exploration exercise whose results are naturally integrated into the musical discourse, which provides the listener with an approach to new sound universes.

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.

It's silence ... You are alone with yourself, imponderable entities suddenly appear to your mind. Unspoken things, hidden by the mind, emerging in the hesitation of a whisper. This murmur that touches the conscience and leaves it already veiled with a bitter worry. The mysteries of our mind are fratricidal debates, old and nourished by our whole existence. Some are revealed to the conscience to prolong only their dull struggle but none of them resolves. Here there are intimate landscapes with condemned horizons, delicate and febrile atmospheres, landscapes composed of sinuous shadows, trembling even among the few fleeting gleams. Their troubling aspect lies in what they can reveal, in the tension they contain.

Rituals explores the role of ritual as tradition and in everyday life. As the piece progresses motifs change as they are passed from one percussionist to another. On one level, rituals represent strict control in our lives, much as tempo and downbeat control a musical performance, yet if they are to survive, rituals (ie musical motifs) must remain flexible enough to change as the need arises. While the overall form of the work has been determined by the composer, many of the details of the music have been realized using a computer program, written by the composer, which applies algorithmic processes to musical parameters such as pitch, duration, sound location and choice of timbre. All algorithms have been constructed by the composer to create a sense of development within a framework of repetition.

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.

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.

Recording of Jan Wiese's Stilleben Last Part.

"Timbral" was realized partly at the Magyar Radio Electronic Studio and partly at the Radio Belgrade Electronic Studio. The work in the studios involved diversity of technical equipment, both analog and digital. Though almost any sound is attainable by means more sophisticated equipment to day, nevertheless it could be maintained that every kind of equipment possesses undesirable consequences of the use of analog and digital techniques simultaneously, the blending of sounds in the piece was mainly accomplished vertically, not horizontally. Thus a possible critical variety was turned over to the enrichment of the sound palette. By emphasizing the importance of timbre (what the title derives from), it did not become dominate as a decoration but kept the role of an important constructive principle.

The work is inspired by a popular Moldovan ballad (more than a thousand folk variants!). This ballad was transcribed by the classic Moldavian poet Alecsandzy the 5th (who lived in the 19th century.) This is the poetic story (of a profoundly philosophical expression) of a shepherd to whom a little talking sheep announces that he will be killed by two other shepherds, his false friends, in order to seize his flock that they want. The sacrificed shepherd accepts his destiny and begs the sheep not to tell the truth to his mother, to communicate to her that his son has married the most beautiful princess, betrothed of the world, and that at his wedding a star has fallen and that the sun and the moon held the crown. The entire composition is divided into 6 fixed parts. The first two sections have a descriptive function. The third expresses the dramatic content of dialogue between the shepherd and Mioritsa - the little talking sheep. The third sentence - culminating - reveals the tragic context of the plot. Here the tape is added with the recitative (recitation) of the mother. After the reprise, the code, and the epilogue.

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.

In memory of Serge Garant This dramatic work combines the sonic universe of one of the earliest instruments of electronic lutherie with the latest in digital technology. The instrumentalist occupies a very precise place within the sound world of the band, his role not being that of the traditional soloist. The flexible and expressive play of the Martenot waves, sometimes close to the human voice, tends to be merged with the very high intensity of the sound material of the band. The work was premiered in November 1988 as part of a concert organized by the Canadian Broadcasting Corporation to commemorate the 60th anniversary of the invention of the Ondes Martenot. Commissioned by the Canada Council for Suzanne Binet-Audet. This piece was made in the author's studio and recorded with the ondiste in the studios of Radio Canada in Montreal.

This work has been completed using some of my personal tools for algorithmic live experiments. The arranging was done by modest technical means of multitracking – fitting parameters in the compositional routines for each part. During recording I was "conducting" the computer and the effect-processor. Sheets of sounds and interval patterns have been created with recursive functions to get qualities "of good feel". I let these objects exist in different acoustic rooms.

Recording of Pierre Chuchana and Marc Pira's Microclimats.

"Kaleidophon zum Schwarzen Rauschen" (completed at May 8th, 1988) is a composition starting with slightly pulsing white noise, and ending with a sound I associate with "black noise" - with a comparatively low spectral density, but high enough to appear not as simply "metallic" (maybe the acoustic pendant of a "black light" neon lamp or the radioactivity after a nuclear desaster) The white noise is varied in amplitude modulation and colour, and it forms a background up into the beginning of the sixth part of this piece. The acoustic pictures during the eight parts vary between wideness and narrowness, between living nature and metropolitan and hectic activity, between peace and war - and whatever the listener may discover.

River Through Time was the name of an ancient monastery situated on a small island geographically well-protected from the forces of nature as well as the rest of civilization, near the mouth of the ancient Ch'ang Jang (the Long River). It was also the Zen name for the revered ancient Chinese poet Yue-Yuen, the patron saint of the monastery, who, instead of continuing to serve a morally corrupt government, threw himself into the river to draw people's attention to the situation. In a Zen-like duality, the piece describes both the monastery and on a different level, the sempiternal journey of River Through Time, as seen as by the very still monastery itself. It begins with a dark, rather unsettling mood different spirits struggling, gradually opens up to a group of gently speaking ones, and finally settles into perfect unison as the waves softly envelope the monastery. By design, the composition attempts to minimize the variation in pitch and instead concentrates on articulating rhythms largely through timbre manipulation alone, first pointillistically, later in undulating flows. All of the timbres and many of the sound phrases were generated by a digital synthesis program the composer developed. The raw material for the synthesis …