Recording of Georges Boeuf's Les filles du sommeil. This work was inspired by several paintings by Gustav Klimt which depict women according to the expression, "sleeping beauty". The composer has segmented this work into 4 movements: 1. Pluie d'or, 2. Écran de Nuit, 3. L’œil Profond, 4. Éloge de l'Apparence. This work has been dedicated to Rapha'l de Vivo.

The composer states: "Often the relationship between art and science is obvious. Not only on the technological level but also processions of thoughts and themes are often reflections. Contemporary ideas about chaos tell us of the immeasurably immeasurable consequences of everyday actions that may be generated by complex and incontrollable situations in the end. The masses, formed of structures of sounds and music often show me connections to these thoughts that are remarkable and I can be struck by the poetic force that they generate because of the causal and continuous relationships, despite the fact that it actions that are of a very accidental nature. In this music I tried to group these elements and to build a sound tissue that spontaneously generates a sense of openness and harmony through the construction of individual algorithms. By exchanging mutual sound characteristics but of different formats, a convergent evolution of 192 individual voices takes place to a precise position in the spectrum of an octave, developing a dense, living and compact sound layer."

Recording of Klaus Roder's Voice Dance. The piece consists of eight different patterns. The patterns are made by a small group of separately sung and recorded tones that have been put together. Each pattern has a fixed musical structure with a typical rhythm.

Recording of Ákos Rozman's Klagovisor. This work is written in memory of the composer's mother. The use of an old dried-out zither is used within the piece. There are also sounds of strings and crying, wailing vocal fragments from Hungarian folk music groups. The piece consists of thirteen short movements that blend into each other. Text by Isabel Thomson, was heavily inspired by Ákos Rózmann.

Recording of Annette Vande Gorne's Action/Passion. It is the result of a close collaboration where choreography and music were designed in interaction. The work is inspired by inner energy and its manifestation: movement. During the show, the dynamic movements of the sounds unfold in the space thanks to a spatialized interpretation. Music and dance play on very contrasting energies such as breaths, fluids, attack/immobility, attack/movement, rebounds, journeys, falls, crushing, rotations, oscillations, flights; causing so many stages of a sound metamorphosis of matter into movement.

Recording of Andrew Lewis' Arrivals. Arrivals was composed in the Electroacoustic Music Studios of the University of Birmingham. Arrivals takes its title from the way in which the music is continually moving towards goals and destinations, at both the macro- and micro-musical levels.

Recording of Lawrence Fritts' Tetraktys. It was composed in the University of Chicago Computer Music Studio on a Yamaha Computer-Assisted Music System. The synthesized sounds are meant to represent a vibraphone, but all sounds were created by FM synthesis.

Recording of David Keane's Epiphanies. Epiphanies is a work for solo English horn, the sound of which controls a Yamaha CX5M music computer by way of a Pitchrider (pitch-to-MIDI converter). The timbres are changed by the performer using a foot pedal, according to a pre-programmed schema. This procedure allows for the power of computer re-sources, but the flexibility of live performance. Although the character of work is meant to be that of an unaccompanied work, the CX5M voices have been designed to blend with, extend, and transform the sound of the English horn I a variety of ways. The title suggests the subtle and sometimes magical qualities that can suddenly present themselves and just as suddenly disappear. The original form of Epiphanies was created in February-March of 1987 using the resources of the composer's personal electro-acoustic music studio in Scarborough, Ontario. The work was commissioned by Vancouver recorder virtuoso Peter Hannan with the assistance of a Commissioning Grant from the Canada Council. The score and the voicing were adapted for English horn in 1990 for Lawrence Cherney. The premiere of this version of the piece was given on 1st December 1990 at the Music Gallery (Toronto).

Recording of Elżbieta Sikora's Rappel II. Rappel II was written between June 1987 and June 1988. The work is made up of various modules: evolving, they meet in ever-changing configurations. in bits and pieces, melodies, in their anachronism and their sometimes decadent rhythms, making their way through increasingly thick sound screens, until they disappear forever in the final crescendo. A fairly brief first part in which the elements are stated. A sequence with a defined rhythm, accentuated, begins the second part: under all light and in other times, it is the recall of the previous one. They are played without interruption. The technical process of transformation in real time, adds a coloring and an enlarged spatialization of certain sounds and sound groups.

Recording of Jean-Claude Risset's Voilements, performed by Daniel Kientzy, for tenor saxophone and tape. The tape was produced in Marseille (Faculty of Sciences of Luminy and Laboratory of Mechanics and Acoustics of the CNRS). The sounds recorded by Daniel Kientzy have been transformed using the SYTER audio processor designed at INA-GRM by Jean-François Allouis and industrialized by Digilog.The synth sounds were produced on an IBM-PC compatible computer using the version of the MUSICV program extended by Daniel Arfib; they were specified by instrumental gestures on a MIDI keyboard, then transcribed into MUSIC V code. This transcoding, carried out by Frédéric Boyer, allows to combine the resources of the synthesis and the real-time commands. was written at the request of Daniel Kientzy and is dedicated to Kientzy.

Recording of Luc Houtkamp's Odd and Even.

Recording of Barry Truax's The Wings of Nike. Barry Truax created the music with real-time granular synthesis. The work is in four sections. The visuals are based on a "sampled" visual image of the famous statue, the Winged Victory (or Nike) of Samothrace, and the music is mainly based on two sampled phonemes of vocal sound, one male, the other female. The work is an extension of an earlier collaboration, Divan (1985), which explored sound-image relationships. The computer images realized with a Vax at the University of British Columbia in Vancouver were produced by a Ramtek frame buffer and Metheus monitor display, controlled by customized software by Robert Ross based on the LIG language. The music was synthesized by the DMX-1000 Digital Signal Processor controlled by a PDP Micro-11 computer with software for real-time granular synthesis developed by Barry Truax in the Centre for the Arts at Simon Fraser University. Sound densities ranging up to 2500 events/second were recorded on 8-track tape and mixed down in the Sonic Research Studio at SFU.

Recording of Bernard Parmegiani's Rouge Mort: Tanathos.

Recording of Daniel Scheidt's Obeying the Laws of Physics. This piece establishes an interactive situation made up of four regions of timbre - each representing a family of instruments. The percussionist explores each region and controls the transitions from one sound area to another by playing certain patterns derived from percussion playing techniques. Obeying the Laws of Physics was commissioned by Trevor Tureski with assistance from the Canada Council for the Arts (CCA) and premiered by him in October 1987 at the Banff Center for the Arts. This recording was made at Luscar Digital Audio Studio at the Banff Center for the Arts in July 1990.

A recording of David Lewis's Time and Fire. Time and Fire was composed between 1987 and 1990 in the Electroacoustic Music Studio of the University of Birmingham.

"Inter" tries to emphasize the exultant controlling the total performance by systems so simple that it can keep some energy to be an interpreter. The thematic material for the electroacoustic part is recorded by the saxophonist during the performance, and all the sounds coming out of the sampler are taken from the same saxophone. The work was commissioned by the digital section of the ISIM. The piece in one movement with the following sections: Interrogation - Interpellation - Interim - Interlude - Interference - Interpoint - Interpocula - Intervivos - Interjection - Interpolation and Interegnum.

Album artwork for the Lab 87 album for One O'Clock Lab Band directed by Neil Slater.

The title of the composition is taken from a line by Cicero, "toto pectorum tremens" ("the whole breast trembling"). The main musical ideas in this piece are all related to the act of trembling as a response to some basic emotional state such as anticipation, fear, panic, exhaustion, etc. In order to expand the timbral palette of the pieced material, I have incorporated into the composition synthetic, unpitched sounds such as wind, breathing, and large, struck sheets of metal. During the course of the work the Bach choral melody "Was bist du doch, o Seele, so betrubet" appears. The harmonisation is mine and the choral setting is intentionally left incomplete. This composition was realised at CCRMA under an "artist-in-residence" gnat from the Rockefeller Foundation. The composer would like to thank Bill Schottstaedt for the use of his FM instrument, which was used to generate most of the sounds in this piece.

Even thought the composition doesn't conclude any concrete theme, I have decided to participate in the category C. The basic work of composition is visual imagination, in which the musical form is subordinated. That is why the basic form of the choregraph movement of the interpret on the stage is so close connected to the music. From the point of view of the musical confrontation of three elements, which flow into music conflict. The score of the solo trumpet and the music of the recorded trumpets on the tape are mono thematical. This theme is bipolar and has an interval structure, which develops into an evolutionary development. The movement of the player has direct connection with the form of the composition elements. The selection of harmonic elements oscillates between the chromatically using of the former mentioned structural model by the use of micro intervals. My basic imagination other than the musical idea, which I wanted to express, deals with the fate of humanistic ideals in this world and fate of its authors.

This is the result of an exploration of writing in space, in this case for the speakers placed in an arc forming a sound screen of 150 'to 220' aperture. This piece is also the result of an exploration of electroacoustic writing. 6 movements the structure: 1. Opening, solatonic less than a minute. 2. Around rain, or shudder of a more neumatic writing. 3. Duo where the bottom engulfs the soloists to merge into the fourth movement. 4. Explosions, tears falling in tessitura. 5. Heart of music for percussion and synthetic choir 6. Coda, rain, oblivion ...

Oro, Argento & Legno ("Gold, Silver & Wood") is once again a large-scale work, this time for flute (or rather for flutist, who is asked to play not only a regular flute but also an alto flute and piccolo) and computer. It is a virtuoso work requiring a great deal of technical precision and agility from the flutist who at the same time is given ample opportunity to display his powers of musical interpretation. The form of the piece approximates a freely transformed and re-interpreted symphonic concerto with five major sections, played without pause, each having its own textural, timbral and rhythmic characterization which contributes to the shape or curve of the composition conceived as an organic whole. The major unifying force across the sections is the intervallic material played by the flute, derived by means of a rigorous adherence to the composer's highly flexible dyad system. This system furnishes not only the flute part but also the basic generating intervals for the electronic sounds. The flute's intervals are transformed into the electronic sounds by various methods, with the result that there are (at least) two versions of the same fundamental musical material going on all the time, a kind …

Recording of Gilles Racot's Noctuel.

"Off the Lip" is a term applied to surfing and windsurfing, meaning turning on the broken top of a wave. The piece "Off the Lip" came to exist in the break between the old and the new. This applies to studio techniques as well as instruments (traditional instruments, synthesizers and computers) used in this room.

This is a real-time performance of computer. This piece's "Structure" (changing with time of the density of sounds, distribution of sound-frequency, character of the sound-space, etc) was decided by translation and adaptation of the results of Monte Carlo simulation about the ecological concepts -birth, growth, death, etc-. It's used here to suggest a systematic but multiply stimulated study of materials and their organisation. Many scales and tunings consist of re-construction of the frequency-values as the results of random operations. And this scales change with time.