"Senza Voci 3" finishes the series "Senza Voci", three works that over the years have been made with various techniques, but which maintain unaltered some basic characteristics concerning the sound material and musical thought related to it. Especially, "Senza Voci 3" was realized at the CSC of the University of Padua, with the help of Sylviane Sapir on the real-time system that uses Giuseppe Di Giugno's 4I processor, controlled by a PDP 11 computer. The synthesis method is the amplitude modulation and the sound material is borrowed from the previous works: four sets of frequencies which from low to high, are called Alpha, Beta, Gamma, Delta. The relations of several degrees that take place between these sets define the articulation of the piece through a path traveled several times which goes from the individualization of single moving sound blocks to complex fusion. So this "Senza Voci is linked to the dominance of a guide set. If "Senza Voci 1", the guide set was Beta (in the middle register), "Senza Voci 2" Alpha (the most serious), the last "Senza Voci" are the Gamma and Delta sets that come to form the line important part of the speech. Another peculiarity: the extreme …

Polish Dances on tape by a priest Baki, eighteenth-in. Lithuanian Jesuit claim to share in the song quoted the preacher's views, although reluctant to accept the phenomenon, which, as they were forced to take on and the author of sermons-lines, and some contractors (Grazyna Barszczewska, Joanna Neuburg, Ania Zielinska, Krzysztof Kołbasiuk and Kazimierz WICHNIARZ) , and songwriter. The song also wishes to note the features that make the nearly 200 years, the Baka deserves exhumation: a clear pulse (blood punched in the mazurka and polonaise rhythm), a fresh breath of Jesuit methods of stick and carrot, lung after sarmacku their distended, his legs smartly pląsające in the "dance macabre" , head full of epithets manierystyczno-baroque, stomach and liver in the seasoned pleasures of this world, his hands a bit tired wygrażaniem and grzmoceniem pulpit with his fist in the window sill, but the ribald humor and heart of gold. Furthermore, the lack of addictions (except wierszoklec / hs / twem). Somewhat provincial manners (especially those rymotwórcze), the belief is highly structured (with the help of a simple odkrywczo genre), so eclectic as to be original. And above all - quite the contrary it - the joy of life, and I …

Recording of Gabriel Poulard's Cyprès which is dedicated to Pierre Schaeffer.

Recording of Eric Mulard's Hommage à Pierre Schaeffer.

Recording of Judith Akoschky's Mural. This piece gives homage to Pierre Schaeffer. The "Sound Paintings" are works of Evocación Sonoras that the composer has created with children and with teachers; the sounds are produced with everyday objects that called "Cotidiafonos".

Recording of Enrique Belloc's PoPierre. This work is for manipulated voice and electronics. Surrounding sounds, onomatopoeia, fragments of conventional music are combined to create a sound space which become musical poem.

Recording of Philippe Blanchard's Escalier de service. This piece is for trombone and electronics. This work uses pre-recorded sound which are processed with electronics and effects. The sounds are representative of the composers current state of mind. A descent into the underground streets of Geneva, recording the movements of the night, looking out for a familiar sihouette.

Recording of Jean-Louis Belmonte's Angel. This work uses traditional electronic techniques to change pre-recorded sounds to create a soundscape. The metallic ring sound is a continuous sound throughout the work, therefore the listener becomes familiar and begins to draw attention to the sounds changing outside of this familiar sound. Yet, there are still moments with the attention is brought back tot he metallic sound and a brand new collection of sounds and environment is introduced.

Recording of Bernard Donzel-Gargand's Il y avait une ombre dans la nuit, c'était celle du soleil. There is a drone aspect to this piece with sound occurring within it. There are field recordings, electronically built sounds, and pre-recorded sound which have been manipulated. All these elements are combined and organized in a suspenseful, unpredictable, and unsettling way.

Recording of Simon Emmerson's A la Recherche... Schaeffer's "A la recherche d'une musique conrète" and Proust's "A la recherche du temps perdu" both influence this short study which layers and links materials previously heard in works of the composers "Time Past" series (and its offshoots). Technique from musique conrète were used in this work, sounds of natural origin are recorded and electronically manipulated so that the unprocessed sounds are altered and combined in a musical fashion.

Recording of Simo Lazarov's P.S. to P.S. This short work is a part of a project between Simo Lazarov and Pierre Sheafer titled Projet D'Oeuvre.

Recording of Andrea Libretti's Passage to India. This piece is based on ambient recordings from a vacation through India, focusing on sonic environments. This use of technique is influenced by the "concrete" compositional poetics of P. Schaeffer.

Recording of Marco Ligabue's Trois miniatures pour Pierre. The composition is a tribute to Pierre Schaeffer. Trois miniatures pour Pierre utilizes only concrete sounds recorded during one of the composer's stays in France. The piece is constituted by three little scenes, with the first and second connected together, but the third - the song of an old provincial peddler - alone.

Recording of Christine Groult, Jacqueline Ozanne, and Nicolas Verin's Fer-vent. This is a collaborative work for electronics and manipulated pre-recorded sound.

Recording of Gianantonio Patella's Radio-Vaggio. This work uses radio gragments that are modified in many ways with ring modulation, filtering, and the changing of time waveforms with tabular synthesis. The Karplus-Strong synthesis technique was used.

Recording of Agostino Di Scipio's 5 Piccoli Ritmi. For tape music with computer-processed guitar sounds and voice. This work divided into 5 short section, each announced by Spanish voice. The text being read is from a poem by H. Maturana. The sounds are derived from mixing and processing concrete sounds. The processing techniques includes an interactively operated method of real-time recursive granulation and time-shifting. Feedback controls were utilized, so that amplitude and density of the output sound affect the time shift ratio and the pitch in the algorithms.

Recording of Mark Wingate's Klang, Kar und Melodie. This is a tape piece that take its inspiration from the super-rational, post twelve-tone academic serialism of the late 20th century. While concrete in its initial source material, the piece gradually attains a constant forward harmonic motion and a complex structural plan formed by asymmetrical pairs of hexachord aggregates. These inverted cellular rotations combine with slower moving tone-clusters which crescendo into chaotic, colliding sets of increasing density which ultimately disintegrate. Thus, with the underlying rhythmic structure results from temporal displacement of the canonic motive in the various constituent voices and is not a determinant of motion in the most fundamental sense.

Recording of Alain Michon's Lutte au delà. This work is a play conceived in eight parts articulated around low frequencies. The elements of percussion are recorded with the help of non-conventional instruments that collide with breathing sequences suggesting the near-helplessness of the ailing person to survive; reflecting a personal experience of the composer. The last sequence is a combination of frequencies, while harmonizing, provoke comfort, a helpless euphoria, it is also the contemplation of the unknown, of our destiny.

Recording of Artem Vassiliev's The ways. For electronics and pre-recorded manipulated sounds. This work was also the composer's first electro-acoustic piece with the majority of the sound materials created and mixed in the studio.

Recording of Natasha Barrett's Earth Haze. This work journeys through a landscape of dissolving images and events, breaking open enclosed sound-worlds to reveal huge spaces filled with wraith-like figures. It attempts to fuse musical and extra-musical properties of the sound through drawing on the interaction of physical objects, people and the surrounding world.

Recording of Pascal Marchand's Pouvez-vous répéter la question? This work is the metaphor of a walk, like a sound tracking shot of a walker's journey. The ear is the guide and the eye. This piece is in three parts, three environments with nuanced colors, slowly distilled. A series of images appear and disappear to our eyes-ears, according to the gaze-listening.

Recording of Vladimir Komarov's Composer X.X.X... This piece was composed in 1996, and is constructed on the text of conditions Bourges Competition.

Recording of Bruno de Chénerilles' Etude No. 1. Selected at the International Electronic Music Competition of Bourges 1996. All sounds come from an electric guitar played on the table; part of this sound material was then sampled, edited, transformed, shaped and replayed on the keyboard on a digital sampler. 2 versions exist: The first is fixed on support in stereo. it can be played as fixed sound music and this version has been released on the Move Sweet Move DVD (Audiorama - 2005 - for sale at www.audiorama.org). The second is a concert version played live on the sampler keyboard.

Recording of Riccardo Dapelo's I suoni che distilli. Derived from the poetry of Eugenio Montale (specifically, "Resta lontano...") and utilizes high voice readings of poetry alongside sung portions in overlapping and edited forms. The text of the poetry was initially read - with only sparse, significant words being sung - by the soprano Daniela Aimale. Like the title "I suoni che distilli" (translated as "the sounds that you distill") explains, the attempt of this composition is to extract the essence, the pure sound of poetic language. This composition utilizes different techniques of processing the human voice including spectral and dynamic granulations, and vocoder; also utilized are mimetic and synthetic sounds, variously interpolated with voice grains (some original Csound instruments for morphing and granular synthesis). To obtain a sensation of movement between foreground/background the piece was developed in different levels, each with its own dynamic grade of reverberation and/or volume, laid one upon the other. The piece is dedicated to Alvise Vidolin.