Recording of Françoise Ermeline Le Mezo's Chroniques Première Partie (Un Chant de Mars).

Nahual II is a piece for Chamula Harp, computer and Yamaha SY77 synthesizer. The Chamula harp is an instrument from southeast Mexico used by the Chamula Indian communities for religious ceremonies. The instrument as well as the tuning keys is made of very lightwood and tuned by hand. The strings are made of steel. Its lightwood allows the performer to make glissandos by pressing the resonant top. Due its characteristics, the tuning is not stable so its acoustic evolution during the performance makes this instrument quite interesting. The Mexican sorceress inspires me to create Nahual II; they use the ¬Nahual¬ as a way of experimenting with new realities or to ex someone.

"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 …

The piece is comprised of four main elements: vocal chorus, spoken text, melodic percussion, and non-pitched percussive effects. The spoken text is a popular adaptation of Psalm 23 which is treated freely and recited in both English and German. The melodic percussion is a plucked-string and chime combination instrument (which sounds a bit "gamelan-esque"). And the percussive effects consist of various treatments of the other elements. A fifth element, a pitched white noise instrument with a moving center band width, forms the back drop for the work. As the title implies the work is a lament of war, in which the main elements weave in and out, fighting to gain prominence in the foreground and/or slipping away into the background. The form is basically that of an arch. The first half is dominated by percussive elements. At the top of the arch, vocal elements gradually take over to dominate the second half.

Recording of Charles Bestor's Soliloquies.

"Antigone: Musique" was designed to accompany an amateur production of the Cocteau piece. Whose convoluted intervals evoke me the sweet-mean smile of the dark forces that slumber in us. The vocal enchantments the actors themselves, which allows to lengthen the actors during the representation thus creating (at least I hope!) interesting ambiguities...

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 Michael Pelz-Sherman's Riding the Bull.

Sentences was composed between November 1990 and January 1991 to a commission from Nicola Walker Smith with funds made available by the Arts Council of Great Britain. It is for solo soprano and live electronics (two signal processing units and sound projection). The work is essentially for two performers, the live electronic part being detailed and exacting. Texts were chosen from Whitman (an extract from "Passage to India"), Thoreau ("Woof of the Sun") and Shakespeare ("Full Fathom Five" - more accurately a deconstruction/reconstruction of this poem). The vocal material for the fourth song was constructed from isolated elements of the previous three, largely abstract and unrecognizable, fragments of words reordered and reassembled. The work seeks to mediate several "poles": the obvious onomatopoeia linked to word association - "mimesis" - with the more abstract demands of electroacoustic sounds and their combination. So the cycle moves from the declamation of the Whitman - an influence on the Futurists and hence the lettriste tradition - through the symbolic impressionism of the Thoreau to the increasingly fragmented "deconstruction" of the Shakespeare, in which single words conjure up whole images, to the final dissolution into "semantic noise" (Berio's phrase). Sentences was written specifically for the …

date: January 07, 1991 source: dat instruments: tms, dx7, synth, voice character: game with the fingers means: 24-track mixer, 4-track tape recorder, recorder: dat studio: spaces-cpm the alley of the Knights Templar 1207 Geneva description: computer keyboard vocals, vocals of potentiometers of analog synthesizer, keyboard vocals of the synthesizer of frequency modulation

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 …

"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.

The work was composed in the spring of 1990. The tape part was created at the studio of the Norwegian Academy of Music and is focused on the sound of the accordion. The title is taken from Norwegian and means a hollow or a basin. This refers to "harmonic hollows", the piece is built around. Harmonic material and time space are generated by the Fibonaccio row of digits. The row has been used to provide general structures and not to control details that are intuitively composed. The sound on the tape is a sample of the accordion, transformed by a Macintosh computer and a sampler. With the tape recorder, a reverb is used to bring out live accordion parts.

Is it in biological time? Fertile with these assets, they appear "us". They are interfering with each other. To understand our fantastic opening where each displacement answers a necessity and an instinctive choice, it is an element of power in a reciprocal attraction. In the waters of the lived feelings the souls are confused at the time of the birth of the body. Real existence is created in the power to dream its future course. The invertébé transports its molecules in the swamps to live. Green areas nourish the force of a brutal rite to the solid of the earth, the vertebrate homo-sapiens balance its animal texture. Extravagance of the imagination. Two bodies found to be born together of this limpidity to be one. Entity fed with clear water that never wears and that lava. Feminine nourishing water, wife or mistress of our common lives, ultimate axiom of existence itself – permanent ritual of substance – reason for the movement of spheres. Cold blood, warm blood, oxygen to breathe better their verticality? Germ and early fruit? Interpenetration of our love, true emergence of the man?

Unetsu (The Egg): is based on a Butoh dance piece performed by the Japanese ensemble “Sankai Juku.” The text and corresponding soundscape are based on a poem I wrote after seeing a performance of this work. There is no direct connection between the theatre piece (similarly named) and this tape piece. Only the “global” theme and some of the imagery have been used in organizing this piece. Essentially the theme is one of life, death, transformation, and rebirth. I have structured the piece in an oratorio-style as follows: Introit, Stanza A, Recitative I, Stanza B, Recitative II, Stanza C, Extroit

Recording of Amnon Wolman's The Day the Bank Came Through.

Disregard for the welfare of all aspects of the environment stem from the negative attitudes about life that prevail in our century. Champions of bloated Western consumerism are products of an age that has framed and glorified these negative attitudes in popular existentialist philosophies such as the "sex, drugs and rock 'n' roll" ethic - philosophies that serve to vindicate a short-sighted, self-centered, hedonistic indulgence in life. Caring, conscientious, forward-looking attitudes are frowned upon as naive and absurd. The physical manifestations of these negative attitudes (such as running riot with chainsaws in our life-sustaining rainforests*) have devastating consequences for the long-term health of both us and our planet. Recent climatic conditions suggest that the Earth is beginning to lose patience with humanity and is preparing to re-enact history - to flush its surfaces in one mighty cathartic ablution. But are we prepared to perish? My composition is an attempt to musically dramatize this line of thought ; it begins by presenting, in extreme form, the two conflicting ideological attitudes (the positive and the negative), and then develops into a presentation of Nature's singled-handed combat against "evil", and ends on a note of warning (i.e. the music is fictional ; in …

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.

"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.

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

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.

Composition about mineral's world. Sound are linked and harmonized together following the idea of talking minerals. Sounds synthesized on a YamahaTX81Z. Technical notes: Languages: Basic, Machine language 6510 Programs: C-Lab notator, Digidesign Softsynth, Turbosynth, Steinberg Cubase Midi controllers: Steinberg, Yamaha YME8 Computers: Commodore 64, Atari ST 1040 Tape machines: Revox A77, Teac A1230, Teac A3440 Mixer: Roland M160 Analog signal processors: Cabre AF34 stereo equalizer, Dynacord MDL110, Art Multiverb Synthesizers: Yamaha TX81Z Samplers: Roland S50, S330 Stereo 16bits 44.1Khz

I composed this work during 1988/89 at the L.I.P.M in Buenos Aires. The electroacoustic material was mainly generated and processed with an ARP 2600 synthesizer and other analogues devices, that's why its title. The guitar part -five little pieces- belongs to a largest piece for guitar alone (Dobles A, 1988). The formal organisation keeps the articulation in five parts but, four interludes and a finale -with only electronics sounds- were intercalated and superposed, producing different kinds of imbrications with the guitar part. In the relation between guitar and tape, I hardly could ignore the two main options in this kind of works (timbrical opposition/timbrical interpenetration) yet the dialog is not based mainly in the timbrical characteristics of materials but in their structural features like articulation, velocity, density, mobility, etc...; as well as in their possibilities to execute different formal functions. There are no sounds of guitar processed in the electronic part, but its material was generated by using variations on the pitch structure of guitar parts as main sound source and also, in some cases, as a control signal for different kinds of modulations. Finally, I must say that, When I heard my piece finished, I felt very surprised by …

This work is in a phrase from "Doktor Faustus" by Thomas Mann. This phrase ("in art all recently arrived strives towards an unpublished form") has been recorded with the voice of the composer himself (hence his title) in a sampler to, then separate the phonemes and transform them (through digital filters, generators of envelope, loops, etc.) in musical sounds in which, finally the voice is not recognized. The phrase, divided into three inverted parts, is what shapes the work. In each part only the sounds formed with phonemes or phoneme combinations that make up that part of the sentence are used.