Recording of Alden Jenks' Calcululations. It was made in the composer's home studio, using a Yamaha TX802 synthesizer controlled by a Macintosh Plus computer. The computer was running the Opcode sequencer "Vision". It is is dedicated to the composer John McGuire.

Recording of John Duesenberry's Agitato (Ergo Sum). The piece is comprised of six sections, each around the same length. This electronic piece uses a "hyper-flute" sound, trying to accurately mimic the sound of an acoustic flute while also exceeding it in its physical capabilities.

Recording of Florivaldo Menezes' La recherche panique d'écho. It is an electroacoustic reflection on the mythic world of Monteverdi and various Greek myths. It is built of three sections, each focused on a different Greek mythological character. The first section focuses on Echo, the second on Orpheus, and the third on Pan.

Recording of Jøran Rudi's Swallows of Freedom. This piece was composed as music for a dance performance by Hexakin Dance Company, and created from recorded natural sounds. The sounds were processed with software available at the time, and organized in time to fit the choreography.

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.

It was premiered at the Concerts Phonos, Miro Foundation, Barcelona. Follow the line of the author's instrumental works at this time.

Recording of Dmitri Pavlov's My Native Land.

Eternity, which can be perceived at every moment, divine capacity embracing everything. I had set my foot in the most basic realms of human existence, on a journey to search for the true significance of living. During my journey, I had always felt in touch with something divine. Because I made my music through divine influence itself, I can say that the actual composer of this work is a divine power. I was lived and breathed by its existence. “Memories of the Universe” — we can consider them the most basic memories (realms) existing in a human being. In our modern times, the existence of these memories is about to be lost and forgotten. Not only did I want to act as an intermediary for these memories, I also wanted to try to show the implacable evidence of their existence. The tape was realized using the facilities of the Electronic Music Research Laboratory of Kunitachi College of Music in Tokyo, Japan.

Composition for violin and magnetic tape, whose sound material is composed on the Yamaha DX7 synthesizer and MacIntosh Plus computer. The material consists of rhythmic and superimposed sequences in different time, which gives more and more rapid interventions towards the end of the work and during the dialogue with the violin part.

Furies and Voices comprises three movements, entitled Prelude, Scherzo, and Song each lasting about three minutes. It owes its title to the progression from an anonymous, and at times furious, sound stream (highly demanding of some speaker systems) to the intimation of human song, intoned in counterpoint with relentlessly moving sound masses. The "human" sound is derived by way of digital sampling of a trombone sound from an earlier composition, In Memory. A description of the compositional process of the piece can be found in Otto Laske: Navigating New Musical Horizons, J. Tabor (Ed.), Greenwood Press, Westport, CT, 1999. The piece was commissioned by the Center for the Arts, Simon Fraser University, Burnaby, B.C., Canada, and is dedicated to Barry Truax. Furies and Voices received its premiere performance at the 10th Anniversary Concert of NEWCOMP, the New England Computer Music Association founded by Laske and C. Roads, in April of 1991. It was first performed in during the Colleque ?Musique et Assistance Informatique, Marseille? (1990). The piece is available on Neuma VI (1999).

Piece for electronic keyboard and synthetic sounds. This is a controlled improvisation piece generated on an electronic keyboard with Max MIDI program controlling the different sound patches and dynamics in real time. This piece was realized in 1997.

This music piece reflects an evaluation of the Russian history on example of kremlin. Part 1: before 1917 Part 2: 1917 to 1954 Part 3: later of now

The original version of this music is provided for eight speakers located at the top of a cube, the listener is located inside. A luminous device allows to play in real time forty-eight diodes distributed in space. Each musical moment includes a different game to "enlighten" the musical score. It is therefore a reduced version in four tracks and blind music.

Recording of Jonty Harrison's ...Et ainsi de suite...

This piece wants to expand the soft lyric and dripping serenity of the harp, with the help of the computer introducing into the micro-world the senses of the harp and modulated these senses by the electro-acoustic means. The composition is composed of three musical layers, on the one hand harp senses modulated by the electro-acoustic means, on the other hand, synthetic senses controlled by the harp and finally the sense of the harp without any modulation. live part / In the course of this stereophonic work, nine movements succeed one another without respite. The culmination is at the end of the fifth movement. Moreover, the slow and lively structures succeed one another by movements. The piece is dedicated to Eva Maros and was made in the studios of Rion Hungarian in 1989 with the collaboration of Istvan Hervata sound engineers.

Recording of Myke Roy's If You Stand on the Log Long Enough, tout le Monde va Partir.