Recording of Michal Košut's The Cathedral in Coventry.

Stiriae was my first substantial piece of electroacoustic music, composed in the Electroacoustic Studios at the University of East Anglia. It was joint winner of the CNM/France Prize at the Bourges Festival of Electroacoustic Music in 1985.

The work was completed at the Finnish Radio Experimental Studio in 1984. The sound sources for the piece were an electric guitar and the singing voice of the composer.

Recording of Josef Anton Riedl's Landschaft Beschreibung

Electronic compositions Arcanum [Secret] is based on a computer-generated score and a defined distribution function which were utilized in the construction of the compositions. They use precise tone heights in the microtonal interval systems on the basis of characterized tone clusters and alternating chords. Arcanum uses tone pitches given in frequencies in bound positions from 50 to 5,000 Hz. Couples of random numbers limited by the interval from a major second to three octaves became the first and the tenth tone of the desired block of sinus tones. The other eight tones were put in regularly or at random according to a defined distribution.An electronic computer composition Arcanum lasting 12'2" min., has been created using selections from fifty such groups of sinus tones and their arrangements.

The title of this piece evokes both the "solitary" aspect of the one that one could imagine the interpreter (singer, modulator, ...) and the "two-dimensional" aspect, "dialogue" (almost all the piece is known in two layers, the second being made from transformations, shifted in time, of the first one, so that there is a work of variations both "stationary" - ("simultaneous" - "synchronous") - and "in time" - "successive". All the musical material derives from a single note (see title ...), which undergoes many variations of timbre, of "presentation", and which is often only a pretext for elaborations more complex (see, for example, the second part, where the soil is only the "reference note" the "tonic" of a complex harmonic system). The work was realized at the Studio of Electronic Music of the Research and Training Center Musicales de Wallonie, Lige, in 1984/1985. It exists in two versions: 4 tracks / 2 tracks.

Where we speak, of course, departure, travel, farewell ("Leaving is a little dying ..."); but also of escape, of pleasure, of initiatory journeys, of imagined space and, again, of loss, oblivion, absence, "little death" and "great journey". It is not irrelevant that this piece was created in Marseilles, among the remains of the ancient Phocaean port; the first movement is a quick allusion to this journey back in time. The sea so close, inexhaustible and plural symbol, was to be present. She is, stubbornly. The wave proposes its energetic law to the whole and to the element: flow / reflux, growth / decay, appearance / disappearance. The concrete slides towards the abstract and then reappears. Points of anchorage in the real and furtive evocations (heard or guessed?) Emerge here and there. The origin of this work lies in an earlier piece, Vanishing Points, which she develops and which we find elements in the movement 4 (Theme of the flight). This movement constitutes the "peak of the wave" formed by the curve of increasing and decreasing durations of the nine movements. Some milestones for this route: 1- (2'04) Marine. Opening. Massalia / Marseille. 2- (3'32) Preliminary mapping. Generic, first lines, volume …

Electronikus Mozaik ("electronic mosiac") for stereo tape was commised by the Hungarian national film production organization, MAFILM, for a first performance in Budapest in May of 1984. The work was realized using digital sound generation facilities, in particular the Yamaha DX-7 synthesizer, at the Queen's University Electronic Music Studios in Kingston, Canada. The piece was conceived as a sonic analogy to a visual mosaic. Points of sound with various colors, or timbres, correspond to the bits of colored stone found in the visual mosaic. The sonic colors are worked into variously similar and contrasting rhythmic contexts intended to encourage the listener to move his/her mental focus among the larger and smaller levels of structure but to find coherence and, in particular, continuity at each of these levels. At the micro levels of the work the richness and variety of the individual points is meant to attract the listener's attention, while the macro levels comprised of interwoven streams of points merge into structures which are meant to engage and hold the listener's attention.

Written for two analog, polyphonic and programmable synthesizers. This first sequence is a bit like a traditional sonata at the level of the spirit that governs the 4 movements that compose it as well as some formal concerns. However writing for synthesizers is a matter of instrumental design is typical to this instrument all that concerns the sounds used as the game modes, especially the systematic use of filtering as a game element or "montage" programmed sounds.

This piece for magnetic tape is - from several points of view - a confrontation of various worlds. First of all, on the music-technical level: the production process. The means of the classic studio, the manual aspect of the work on one side, the generation of basic sound materials on the other side. In addition, the piece is a confrontation of concrete sounds and electronic sounds.The complex spectrum of the human voice is used in this case as a "plastic algorithm" of great flexibility and considerable variability. A hybrid, quantitative analysis results in information that is used by the program to make decisions for controlling a program outside the computer. The program conceived and developed by the author (Oscar, acronym for Oscillator Artist) allows a complete navigation between one-to-one relations and a completely automatic algorithmic synthesis, in the human dialogue-to-machine. This piece was designed for tape but performed with live performance procedures. The piece uses some FM sounds recorded at the Studio of the University of Toronto in 1979. The piece was made in the private studio of the author. The final mix was performed at the IPEM studio, Ghent, in November / December 1984.

Recording of José Vincente Asuar's Elegie à la mort d'un être bien-aimé.

Los ojos de mis sueños is a work composed in the studios of IPEM, which resulted in my encounter with man-machine. I set my anguish and impatience there, based on the line: What the eyes of my brilliant dreams is beyond death. The pain and the impatience of the synthesizer are of equal importance in the composition.

This piece was inspired by the rite of Sikán and Ikué from Afro-Cuban. This piece tells the legend about how Sikán, a not only curious but indiscreet woman, goes to the Sacred River where sacred Ikué lived. Nobody but the initiates could hear Ikué's secrets. Sikán, being a woman with profane ears was not able to hear Ikué's voice, but she did, and she saw, and she told. Nobody believed her fantasy. Sikán kidnapped Ikué to show it. She paid this profanation with her skin and her life. Ikué died, nobody knew how. But the secret was not lost, neither the habit of reunion, nor the joy of knowing that it exists. With his skin was made the "ekué" which now speaks at the initiate rites and its magic. Sikán's skin was used to build another drum that must not speak, still it suffers the punishment of the long-tongues. Nobody plays it.

This piece was included in first electro-acoustic recording in Mexico under the Colección Hispano-Mexicana de Música Contemporánea. Agua Derrramada is the sonic result of my perception of spilled water with different recipients. The instruments used for this piece are one Arp 2600, one Korg 3100 and a DX7 with no sample technique involved.

"We" has a long history. In the mid-sixties he made music for La burr, by Carlos Saura. In a film sequence, Geraldine Chaplin dressed as a Castilian Spanish woman in mourning, rosary, etc., in order to play to excite her husband. It occurred to me to sound the sequence with a Gregorian-based assembly. The music was censored and I had to write something else. But the experience helped me to devise a work in which the Gregorian was the thread. I thought about making a vast fresco in which several musical traditions met, day logasen and ordered with formal criteria necessarily new and able to encompass any sound material. Thus was born the first version of WE, between 1969 and 1970. I was never satisfied with it, since one of the basic criteria of the form, the intermodulation of some sound objects by others, was insufficiently achieved for what I was looking for. Finally, last summer, I decided to finish it. I settled in Cuenca and, working intensely in the Electroacoustic Laboratory of his Conservatory, on August 19 I realized what I consider the definitive version and, from now on, unique. As so many other times, the sound imagination walked …

Recording of Chiaki Takatsuki's Space B.

As a further attempt in the direction of the Gesamtkunstwerk, this piece seeks formally a connection between high-level linguistic culture, lively drama and precise sound aesthetics. It comprises in the original two parts in a total length of about 1 1/2 hours, the actor is constantly present. Based on their story, accompany the central figure except electronic and concrete sounds, a song. Epilogue (for mezzo-soprano, orgei and oboe d'amore), a short wind quintet, as well as the Mephistowalzer (for violin solo) already known by Franz Liszt, where the musical elements often become independent beyond mere "accompaniment", or to transform itself into counterpoints. In fact, the piece, based on the drama, is located exactly between the theater and the music scene, which in today's highly specialized epoch also presupposes a certain willingness of the audience to engage in and rethink. In the case of the performance here, only a part of the middle of the piece can be presented, which is why in this case the text was mixed with the band, so as not to connect the individual sections, at least the listener's imagination is not speech and music distract; but this is actually in the sense of the manufacturer, …

Jazz Lecture Series presentation by Nat Adderly on February 28, 1984 at 2:00PM at the UNT College of Music. Includes lecture and performance by Nat Adderley, interspersed with questions from the audience.

Jazz Lecture Series presentation by Michael Brecker on March 3, 1984 at 9:30AM at the UNT College of Music. Includes lecture and performance by Michael Brecker, saxophone, interspersed with questions from the audience.

Jazz Lecture Series presentation by Michael Brecker on March 3, 1984 at 2:00PM at the UNT College of Music. Includes lecture and performance by Michael Brecker, saxophone, interspersed with questions from the audience.

Jazz Lecture Series presentation by Marvin Stamm on March 13, 1984 at 2:30PM at the UNT College of Music. Includes lecture and performance by Marvin Stamm, trumpet, interspersed with questions from the audience.

Jazz Lecture Series presentation by Mark Murphy on March 27, 1984 at 2:00PM at the UNT College of Music. Includes lecture and performance by Mark Murphy, vocals, interspersed with questions from the audience.

Jazz Lecture Series presentation by Free Flight (Musical group) on April 10, 1984 at 9:30AM at the UNT College of Music. Includes lecture and performance by members of Free Flight, interspersed with questions from the audience.

Jazz Lecture Series presentation by Free Flight (Musical group) on April 10, 1984 at 2:00PM at the UNT College of Music. Includes lecture and performance by members of Free Flight, interspersed with questions from the audience.