A shower of grains with an average duration of 80 milliseconds but perceived as a continuous sound produces shifts of changing timbres. The sound source for this granulation made in real time comes from samples whose mathematical data are recorded on a hard disk (it is quanta whose frequency modulation (FM) and the spectral envelope (formants) have been predetermined. ). The reading mode of these data is controlled in a way (as if read stuttering) to perceive as a musical gesture what could otherwise be a succession of brief and irreducible sound events. The piece is a psychological poem that explores aspects of pitch and interval, temporal perception, and timbre in a context of selective listening (auditory streaming). "Fermata via media" was produced (1990) at Simon Fraser University's Electroacoustic Music Laboratory with the help of GSAMX sampling programs for granular synthesis and compositional PDFILX developed by Barry Truax.

Recording of Larry Austin's Sound poem set: Pauline Oliveros/Jerry Hunt/Morton Subotnick / David Tudor. It is for computer music derived from recorded conversations, 1988-89, between the composer and compatriot musical adventurers with distinctively etched music-technological profiles, including American experimenters Pauline Oliveros, Jerry Hunt, Morton Subotnick, and David Tudor. Aphoristic utterances were extracted, analyzed, transformed and synthesized with "spectral modelling synthesis" and put through electronic processing.

A recording of Curtis Bahn's Vocable vamp performed by Ron Vincent. This piece is based on the voice of New York jazz drummer Ron Vincent. This composition combines the vocabularies of electroacoustic music and jazz by employing algorithmic compositional procedures to reorder and mix Ron's jazz vocables.

Recording of Robin Bargar's Business as Usual.

Recording of Wende Bartley's, In the light shadows fall. This three movement piece features, text from Women and Nature: The Roaring Inside Her by Susan Griffin. The text fragments were recorded and improvised upon by sound poet Paul Dutton. The sounds heard feature a string quartet, recorded vocal material, a Roland S550 sampler, and sounds from a Yamaha DX7.

Strange Attractors v1.Ob is a composition which involves live interaction between bassoon and computer-controlled electronics and synthesizers. The work was commissioned by bassoonist William Ludwig for the 1990 International Double Reed Society Conference. Strange Attractors uses a Macintosh II computer to control a digital signal processor/mixer, an analog-to-MIDI converter and a Yahama TX802 synthesizer. The controlling software was created by the composer using THINK C and utilizing the Apple MIDI Manager. The Strange Attractors algorithm is a "hyper"-instrument for the bassoon. The hyper-instrument, which resides in the computer, is under the control of the bassoonist through the analog-to-MIDI converter. The reactions of the hyper-instrument translate acoustic performance parameters into computer synthesis and signal processing parameters. Dynamics are translated into spacial location, amount of harmonization, and synthesis, while the number of sonic events controls the synchronization of acoustic and synthesis performance. The hyper-instrument is made of four virtual instruments which progressively become delayed from the sonic event which trigger them. THe voices then become progressively re-synchronized only to become more and further delayed again. This cycle oscillates faster and faster as the piece progresses until the virtual instruments reach their maximum delay. The further along in the piece, the longer the …

The Rom Press was a publishing house in Poland known for its editions of Yiddish poetry and Talmudic tracts. During the Nazi occupation members of the Resistance attempted to melt down the plates of these great literary works and religious tracts in order to produce ammunition. The work employs real time interaction between the cellist and the computer. The computer sounds combine synthesis and digital filtering techniques that are all rotted in a digitally recorded .25 second guiro scrape. Software for the interactive processing was written in Max. Hardware includes a Roland VP70 pitch tracker, a Mac SE/30 with Digidesign SA Card and an Akai S1000 for digital audio and processing. The Lead Plates of The Rom Press was commissioned by Westdeutscher Rundfunk Köln (WDR) for cellist Siegfried Palm.

"Philately" is about role reversal. The work, based on the following poem by Yehuda Amichai studies the distancing and convolution of materials between two performers. The computer and live performer interact to create an intertwined situation of invertible counterpont. "Philately" employs real time interaction between the oboe and the computer. The computer sounds combine synthesis and digital filtering techniques that are all rooted in two digitally recorded oboe tones (one a long D4 with crescendo, the other a double trill on E-flat5). Hardware includes a Roland VP70 pitch tracker, a Mac for MIDI processing, and a Mac SE/30 with Digidesign SA Card and an Akai S1000 for digital processing.

Recording of Marie-Hélène Bernard's Alice au pays des succcubes. This piece is a three-part piece in tribute to Lewis Carroll. The three parts include; "The well must have been very deep, or her fall had to be very slow, for she had plenty of time to look around her and worry about what was going to happen."; "She found herself in a long, low corridor, lit by a row of lamps hanging from the ceiling; there were doors on either side of the hallway, but they were all locked"; and "In her life she had never seen a stranger croquet ground; hedgehogs served as balls, pink flamingos as mallets." This piece is an eerie journey and explores the possibilities of electronic techniques and orchestration.

Incantations and Dances was written during the summer and winter of 1989-90, largely at the Virginia Center for the Creative Arts, the Ragdale Foundation and the Electronic Music Studio of Sweet Briar College. The work was premiered in March of 1990 by the contrabassist Salvatore Macchia, for whom the work was written, and the keyboardist Jeffrey Holmes. The work is a study in real-time interaction between, on the one hand, a pair of live performers, one of whom is playing a conventional acoustic instrument and the other a series of electronic keyboards, and, on the other, a pre-programmed computer partially controlled by one of the live performers. The melodic and harmonic material of the piece is serially derived, as is its formal manipulation, but there are improvisatory elements involved and there is a decided jazz inflection to much of the rhythmic material, particularly in the closing dance.

Recording of Frederick Bianchi's The christo variations. The piece explores the possibilities of the orchestral sound mass. The tape is used to inner-modulate and energize the orchestra and intended to exist as a soloistic component. Throughout the work the orchestra moves as one mass of sound that contains a varied and rich micro-world of musical gesture.

Diskus is composed at EMS in Stockholm. Dizkus I is for wind-guintet and tape, while Dizkus II is for Wind Quintet alone. On layer of the Dizkus I - tape is a kind of "pace-maker", whose role is primarily to indicate tempi and to give clues of orientation to the musicians. The pace maker is entirely based on the Karjelus-Strong plucked string algorithm and the actual sounds used in the piece have been generated on the VAX 11 computer at EMS. The pace maker put of Dizkus I - tape turned out to be of more music potential than I had expected. The idea arised to elaborate this material in a third piece of the Dizkus "family", a pure tape - piece this time. Dizkus III is divided into two parts, the structures of the sound material in the first part is "triggered" by the original sequence of plucked string sounds, the second part of the piece expose the "real" string sounds in various ways.

Recording of Peter Bosch's and Simone Simons Was der Wind zum Wingen Bringt. 48 vacuum cleaners arranged in a circle provide air. This air is blown through rubber appendages into various pipes and rubber appendages creating four different sound groups: 16 open PVC-pipes, 16 metal pipes, 8 closed PVC-pipes and 8 freely vibrating rubbers, each group with its own sound characteristics. The arrangement is controlled by a computer which switches the vacuums on and off according to a score which is displayed on a monitor. This self-generating score is based on the principle of "cellular automata." The compositions generated by the computer gained in complexity due to the use of different procedures for different groups of pipes. In addition to the concept of an auto-composing self-supporting installation, we developed a fixed score with a duration of twenty-four minutes, making finite concerts possible.

"Delusional episode of short duration, bursting suddenly in a subject with a certain mental fragility." Larousse Dictionary My first attempt to make cinema for the ear. A beginning of scenario: a being who looks for himself dark in a fatal delirium. This piece would be divided into two parts: escape / isolation and fantasy / delirium. This scenario fortunately exceeded, I decide to focus on the internal space and its relation with form. I want to thank Francis Dhomont, Kevin Austin and Pierre De Gagné. This piece was made at the studios of Concordia University and the University of Montreal.

The term "lunar" refers to: taking on or relating to the moon. We all conjure (up) different images when we think of the moon. The moon has been described in literature in many ways, some examples are "the landscape of a great glacier" (John Hunt's Conception) and "shadows on the sand" (Kathleen Raine). Although men have walked on the moon and undoubtedly discovered many things, I often wonder what unreported mysteries it holds. The vast black blanket of space sometimes robs our view of the stars; but yet it allows us vaguely to see our moon. This has posed many questions for me, what "fun and games" are being played on the other side of the blanket? "Lunar New Year is my own realization of what happens on the other side.

Recording of Ton Bruynel's, Schrootsonate. This piece uses instruments and recorded sounds to represent the occasional construction found in Concertgebouw and also historical uses of destruction, such as, the Berlin Wall. The large dramatic changes in volume and density are accompanied by electronic sounds to create this chaotic atmosphere.

Recording of Rainer Bürck's Transformation K. Transformation K is based on sampled sounds produced by non-traditional techniques of playing the piano. In the different parts of the work different techniques become dominant, then forming different regions. The first region starts with percussive sounds, leading to more metal-like rounds in the second region. The third region presents different sorts of plectrum termoli and the final region features more are less massive sound-planes.

Recording of Rodolfo Caesar's Canons / chaos. This composition is based on canonical imitation that was take to extremes through digital developments. A total of 144 sounds are used. Augmentation is the main form of canonical imitation.

A recording of Rodolfo Caesar's Canto. Canto is the last of a series of 3 pieces which have as a source and subject flint. Spatial trajectories and displacements are obtained by manipulation of phases and loops.

It is my second computer-generated piece based on the Voice instrument program created by John Chowning, the Director of CCRMA at Stanford University. This program was modified by Stanislaw Krupowicz to include glissando capabilities that offer a means of controlling vocal articulation, a feature that has provided a central component of my evolving conceptions of synthesized vocal and choral sounds. The overall form of "Intonations of the Wind" emerged from an idea of combining rhythmically coordinated movement with both arrhythmic and rhythmically autonomous activity. These three kinds of movement are variously juxtaposed and woven into continuums in which one rhythmic idea is seamlessly transformed into another. In my search for a title for this piece, I found myself perusing an old volume of the poetry of John Keats. Many phrases leapt out at me as descriptive of my intent. These fragments coalesced somehow with a few stray images from my psyche to form this short poem from which the title was subsequently derived: Winds twist, knot and scatter Shadow trace branched thoughts Intone organic members "Intonations of the Wind" was realized on the Systems Concepts Digital Synthesizer at the Center for Computer Research in Music and Acoustics (CCRMA), Stanford University.

Recording of Michael Casey's View from the third I.

A recording of John Celona's Also ran.

This work was done by means of an IBM Music Feature Card, installed in a PC computer. "Batimentos" is a study a single sound. This sound has some of its partials slightly detuned, causing periodic variations. Because of their different rate, beatings are perceived as rhythm at lower frequencies, and as a roughness at high frequencies. Continuous changes in the detune procedure result in acceleration and deacceleration processes. The piece also explores density changes, and interaction between binary a ternary rhythms.

This piece was composed in honour of the death of Salvador Dali, the surrealist painter, who shares my birthday. The piece attempts to musically interpret and transliterate the techniques and aesthetic of surrealism. Digital "samples" (analogous to photo realistic images in painting) are taker out of context and modified or "warped". Use of the traditional Latin requiem text reflects Dali's use of religious imagery. All sounds on this piece are produced by voices, human and animal; including Dali's own voice describing this obsession with death.