Recording of Alain Thibault and Marcelle Deschenes's "Pot Pourri," a reduced version of the multimedia work OPERAaaAAH.

Recording of Will Eisma's "Le grand silence d'un seul oiseau" ("The great silence of a single bird") for tape. During World War II, a network of 40,000 km of trenches crossed South Flanders and the North of France. Still today, there remains part of these trenches as a long underground tunnel somewhere around Metz and Verdun. The composition represents an imaginary underground journey from Calais to the Swiss border, through the infernal moles, in the gloomy and frightening obscurity of this absurd war. The poem of Ab Van Eyk tells of these horrors: "Someone walks forward, slowly spitting out his lungs, while a bird pass near me, the gas ......... The night shows fiery angels, among the lights of the "no man's land "; until the twilight silence arrives, the great silence of a only bird, just before sunrise raspberry color." The piece was composed and realized in the studio Five Roses in April 1981.

Recording of Boyko Stoyanov's C.A.S. Stoyanov was inspired by the interpretation of Chopin's Op. 30, no. 1 by the Japanese pianist Rikako Akatsu, performed at the Chopin Piano Competition in Warsaw. In this work, the composer wanted to create a unique form, the basis of which provided by the electroacoustic music.

Recording of Henri Chopin's L'agrippe des droits. One male voice reads the poem which is then electronically processed. Written for Christian Clozier. Henri Chopin's "Audiopoems" was originally realsed on cassette by Edition Hundertmark as 89. Karton in 2001. Only 500 copies were released.

Recording of Jacqueline Ozanne's "Son recif" for voice and tape. This piece comes from a work on the myth of the sirens and includes texts written on this theme in their original languages. As the singer/speaker repeats the story, it is crossed by the sounds of these languages, by songs that cannot continue, as well as successive states of emotion. The electroacoustic tape plays a constant dramatic role: sometimes worrisome, sometimes reassuring, sometimes enveloping presences, it continually influences the interpreter in their vocal and dramatic production. The performance includes a video projection.

Recording of Alcides Lanza's Sensors IV performed in 1984 by the McGill Concert Choir, conducted by Christopher Reynolds. The tape was realized at the Composer's studio (SHELAN Studio) and McGill University EMS in Montreal, QC, Canada. The piece explores different techniques of vocal wiring, especially the relationship of semantics, languages, and memory. The word "Memory" constitutes the entire text for the piece - using letter sound, recombinations of the word, and adding syllables from other languages that share similar etymology. Recording of the word "memories" -- Meg Sheppard's voice -- is used in the realization of the piece.

Recording of Michel Redolfi's "Naissance et agonie de ma lampe de chevet" ("Birth and agony of my bedside lamp").

Recording of Louis Chretiennot's "Des nombres et des mots." The piece begins with a man reciting numbers 1-10 in French; after the first reading, electronic manipulation is added.

Recording of Ton Bruynèl's radio composition on the theme of "Le Petit Prince" by Antoine de Saint-Exupéry, "Adieu petit prince." The text of the composition is partly taken from a critical analysis of the children's book entitled "Fantaisie et mystique dans le Petit Prince" by Yves le Hir. The piece was commissioned by the Netherlands Broadcasting Foundation.

Recording of Bernard Gagnon's Dictée for tape. The majority of the material was executed in real time. The instruments used are voice, a pencil, and also a few oscillator sounds. An oscillator provided a wave that was delayed by tape, and then turned into a voltage to modulate the early sound: a self-modulating delay loop. The piece is a reflection on the anxiety of first learning to write as well as on the degrees of the distances of the writing. The dictation comes from a loudspeaker, while the writer's reactions and his perception of the loudspeaker are captured on the other channel using a microphone. We hear in succession and by degrees of writing: 1. The dictation only. 2. The presence of someone who listens. This presence is signaled by a microphone feedback on the other channel and then a cough. It is good here to specify that the feedback effects are voluntary and controlled. 3. The message changes channel because it becomes the pencil noise of the writer. 4. The transformations that the message undergoes as well as the act of writing of the character who, one realizes, dictates himself. 5. Echoes of his reactions, a kind of subjective …

Recording of Werner Kaegi's Conversations: Partie 3: Vers d'autres jeux.

Recording of Xavier Garcia's "Pourquoi t'as jeté ta pantoufle?" ("Why did you throw your slipper?"). Garcia asks the listener to do two things when listening to the piece: to pervert your listening and to find drama where there is none. To is done through both concrete listening (identifying the surrounding sound world, hearing external noise and understanding the "clues" -- this sound is read as the index of a causality.) and abstract "reduced" listening (listening to the thing for itself, detached from its causal context -- a sounds characteristics, height, dynamics, articulations). Therefore, in the piece there is always a constant misunderstanding between listening to the counterpoint of different "ways" and listening to a casual reference anecdote. In addition, the ambiguity lies in the fact that the sound data that constitutes the anecdotal reference is also one of the melodic paths of counterpoint. The piece was realized in the G.R.M. studios in February and March 1981.

Recording of Geurt Grosfeld's "Wals van kwart voor middermacht" for tape.

Recording of André Luc Desjardins's "Manu militari" for tuba and tape.

Recording of Jonty Harrison's Rosaces 4 for four amplified voices, stereo fixed medium and four-channel tape. For the tourist, Notre Dame de Chartres may be just one more 'sight' amongst the gothic cathedrals of northern France, only notable perhaps for having more of its original medieval glass than most of the others. But why are the three rosaces (rose windows) at the Chartres considered by experts to be amongst the hour greatest ever produced? Why is the building 46°54' off the normal west-east orientation for a medieval church? Why are there no sculptures and no graves within the building? And how was a relatively small community able to erect, in only twenty-six years and with no interruptions, a cathedral with the widest known gothic vault, when work on cathedrals in wealthier cities was interrupted for lack of funds? Could it be that the outward beauty and perfection of the building are the result of something else, something hidden.....? Rosaces 4 was commissioned by Elms Concerts with funds made available by the Arts Council of Great Britain. The stereo and four-channel tapes were made in the Electro-acoustic Music Studio, University of Birmingham.

Recording of Daniel Tosi's "Que sera Sarah ?" It is a piece for piano and magnetic tape

At the beginning of 1989, the Experimental Music Group of Bourges asked me to contribute to a project of international composition to celebrate the 200th anniversary of the French Revolution. While I was trying to find a favorable angle to the approach of the project, I felt with more and more repulsion the chauvinistic harmonies of the official celebration of the French Revolution. In any way, I loved France, how could I participate in the celebration of a nation that even in the 200 years of the Declaration of Human Rights continued to try atomic bombs on the Atoll Mururoa in the South Pacific? My participation became a lament for Mururoa, and I did not send it to France until after the end of 1989. The creation of "The Lamentations of Mururoa" should have taken place by the sea, with two speakers in the water and two others on the beach behind the audience, the soloist standing at the edge of the water. Unfortunately, a thunderstorm canceled the project and this creation took place in a quiet location on the coast of Lolland, the island where I live. The piece is for soprano and four-track tape that includes an electronic …

Recording of Yves Daoust's Ouverture. This is a work for electronics.

Faculty Recital performance at UNT's College of Music Concert Hall

Recording of Christian Calon's Immémorial, part 3 of Midnight, acousmatic staging in three parts and seven fragments.

Recording of Léo Kupper’s Rrrévolution. This piece uses the sounds of drums, revolutionary songs, horse, and sounds from war. The piece is centered around five songs; Ça Ira, La Carmagnole, La Complaite de Louis, La Guillotine, and la Marseillaise.

Recording of Marcelle Deschenes' Nous. Electroacoustic composition utilizing various voices (including human and robotic variations of deeper- and higher-pitched voices) in both English and French alongside percussion, electronic noises, and ambient environmental sounds.

The last few years have witnessed the appearance of highly-specialized fast microcomputers capable of synthesizing complicated spectra in real time. The establishing of MIDI communication protocol provided a precise and efficient way of controlling them by means of such devices – familiar to every musician – as keyboard, violin or drum. Implementing high level language compilers in micro-computers created the possibility of using them for generating non-trivial streams of MIDI signals, significantly enhancing the performing capabilities of humans. And since everything is happening in real time the performance nuances of pitch, dynamics and tempi of the piece can be controlled during the playing. It seems that this new technology will allow to overcome the rigidness of tape – an ultimate form of musical recording. All electronic sounds used in Concertino are generated by two Yamaha TX816 digital synthesizers. MIDI signals are produced by a Yamaha KX88 keyboard and a MacIntosh computer. The program collaboration in controlling the synthesizers was written in LeLisp at IRCAM, in the early months of 1987. France is also responsible for the Dorian flavor of the piece since all the music was derived from L'Homme arme – a fifteenth-century French song. The saxophone part is written …

Recording of Xavier Garcia's L'Apocalypse.