This work uses, with rudimentary means, the fixed qualities of a piano sound sampled by the lack of an AKAI factory. Despite a rather hollow sound that I sought in this sonata to give a field of expression quite extended to the possibilities of putting in play offered by the computer. The piece is in three movements, essentially based on the deployment of an initial agreement. At any moment, I voluntarily appealed to a rhetorical break of form, an appeal to our routed memory, to become, and yet frozen by the obsessive reiteration of the initial agreement. The second movement brings into play the sound transformations of the chord until its disintegration. The third movement is extremely short, but constitutes the implacable solidification of time. In the form of a magic square.

Recording of Daniel Arfib's L'approche de la lumière ("The Approach of the Light"). The piece functions as much as a sound experiment on the resonance of the vibrations as of sound as a concert piece. For the entire listening experience, pay particular attention to the quality of the silence before and after the performance.

Recording of Mauro Bagella's Proporzioni. Performed at the Saint Cecilia Conservatory in Rome on June 20, 1980.

Recording of Pierre Barbaud's Inspiravit Aeolus. During the months of July - August 1979, Barbaud did his holiday homework on the island of Panarea, which is part of the eight Aeolian Islands in southern Italy. The title refers to the character Aeolus from Homer's Odyssey who is the Keeper of the Winds. In the hours of siesta, he blows with great gentleness on the bougainvillea; this is the inspiration for all of the algorithms in the piece. After returning to Paris, Barbaud asked Frank Brown and Geneviève Klein to provide the sound sampling program in data that did not provoke violent attacks. A poor telephone transmission during a first experiment, was the cause of a crash that did not lack beauty. The following communications were normal, and everything from those transmissions were kept in the piece.

An couple shows concern for each other in a kitchen setting. To the couple's left is a table with a white tablecloth and a rooster. A large window in the background looks out onto other buildings.

Recording of Gerald Bennett's Winter, music made for digital synthesizer. It is based in its sound and temporal structure, on one of Friedrich Hölderlin's last poems. These poems, which almost all have a seasonal title, are luminously calm; nothing moves, image is placed next to image, without syntactic or logical relations. In the play, six imaginary female voices make a double canon, unlike six families of non-vocal sounds. The sound structure, the choice of pitches and frequencies, also depend on the sequence of vowels in the poem. The large proportions of the composition, but also the inputs and durations of each individual voice, however also the temporal structure of the poem. However, the poem remains audible. In the music, as in the poem, there is no dramatic development, no climax; nothing is happening. Like the poem, the music presents objects to your reflection. The synthesis was carried out with the CHANT language at IRCAM in November and December 1980.

Recording of Andrew Bentley's Zoo-logical for tape. The piece functions as a sort of trilogy (if it is called a dialogue between three people) between a poem, sounds of animals that are electronic in origin. The work is related to the themes of the Helsinki Agreements which mainly are contained in the words "participant nations" and "United Nations." The poem that is spoken is Finnish in origin.

For String Quartet and Tape explores the Relationship between the nuances that exist in the acoustic and electronic sound world. Throughout the work, the integration of electronic sounds into the acoustic domain of the string quartet creates an illusion that is often hard to define. In the end, they become one integrated ensemble.

Recording of Michèle Bokanowski's "Suite pour l'Ange" ("Suite for the Angel"). "L'Ange" was the feature film of Patrick Bokanowski, who was Michèle's husband. She wrote the entire accompanied soundtrack for the film. This recording is a part of that soundtrack. (https://en.wikipedia.org/wiki/Patrick_Bokanowski)

Recording of Ton Bruynèl's From the Tripod. This program music musically retraces a kind of history of the West commented by a group of women, from Greece to American society. Charles Baudelaire's quote "Give me the strength and courage to contemplate this world without disgust," is heard at the end of Bruynel's work as a mechanical bird passes by and bells are ringing. From the Tripod is a piece for speakers, women and listeners.

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Recording of Costin Cazaban's Naturalia for piano and tape. Circular games on the harmonic sounds of the totally linear solo piano part. The direction of the music shows the process of disintegration on the environment. The idea for the work was aroused by the myth of the Sister of Albert Camus.

Recording of Henri Chopin's L'agrippe des droits. One male voice reads the poem which is then electronically processed. Written for Christian Clozier. Henri Chopin's "Audiopoems" was originally realsed on cassette by Edition Hundertmark as 89. Karton in 2001. Only 500 copies were released.

Recording of Henri Chopin's L'Agrippe des Droits. One male voice reads the poem which is then electronically processed. Written for Christian Clozier.

Recording of Charles Clapaud's Mouvements et formes.

Recording of James Dashow's Conditional Assemblies, quadrophonic work. Conditional Assemblies is based on three groups of five pitches, each group having one pitch in common with the other two. At the beginning of the piece each group is given a characteristic timbre and textural treatment, and the rest of the work develops, mixes and transforms the pitch- timbre-procedure relationships. The work is in two major sections each of which consists of two overlapping subsections. Conditional Assemblies was commissioned by the Biennale di Venezia for the 1980 music festival and realized at the Centro di Sonologia Computazionale of the Universita' di Padova. As usual, I was using Barry Vercoe's MUSIC360, and it was during work on this piece that I began to expand that program to meet my particular needs. Conditional Assemblies received 2nd prize at the Bourges Festival in 1981.

Recording of Roberto Doati's Gioco di velocità. All sound material in the piece was syntheitically created by Doati. The macrostructure of the piece is made up by seven different curves which correspond to the graphic representation on a two-dimensional space with frequency as the ordinate and time as the abscissa, of the variations of as many circumference arcs. This macrostructure determines the formal parameters (repetition series, action time, duration, number of voices, movement in the time-frequency space) of seven kinds of polyphonic rhythmic structures; these are graphically generated on the score mentioned above not with the intention to reach a musical parallel of them, but because previous experiences have shown that the formal perception of both visual shapes and acoustic events are ‘controlled’ by the same laws. The composition was realized in the facilities of the Centro di Sonologia Computazionale at the University of Padova.

Recording of Charles Dodge's "Any resemblance is purely coincidental" for tape. The piece aspires to represent the voice of Enrico Caruso in much the same way that Andy Warhol represented the figures of contemporary popular culture in his silk screen portraits: the voice is unmistakably that of Caruso, but with a difference. In "Any resemblance is purely coincidental," an operatic voice searches for an accompaniment: with the original orchestra, with copies of itself, with the piano, and with other computer sounds. The initial attempts are humorous; subsequently, other emotions are evoked until the loneliness of the "great performer" emerges. The voice is made with computer synthesis based on a 1907 recording of the aria "Vesti la giubba" from Ruggiero Leoncavallo's I Pagliacci sung by Enrico Caruso.

Recording of Paul Dolden's Tertiary colours. The piece was composed using three individual sound types: inharmonic rhythmic sequences, harmonic and semi-clangorous glissandi, and widely voiced harmonic motifs. The three sound types appear as separate contrapuntal lines or as a single fused timbre. The title arises from the sections in which two of the thee sound types merge into one timbre or colour, "tertiary colours" being a term used in painting for a colour which is produced by mixing two secondary colours together.

Recording of Joseph Dorfman's Enchanted Masks. It is a concertante work recorded on tape.

Recording of Kim Dyett's Refraction for tape. The piece is composed from words that are twisted and transformed moving from meaning to sound images.. The work was inspired from poems by E. E. Cummings.

Words, words, words…….!! Respect for human rights, for freedom of the spoken and written word. Somebody wanted to say something, others too. Hundreds wanted to speak, to say what they are thinking. But the answer is a battalion of machineguns………… A National Anthem is beginning to sound, than another and it increases and increases. It ends in chaos; the nations can’t come to an agreement. It seems to crumble down. There is a Final Act - does it help? Does it work? Time will tell. The Festival of Electronic Music at Bourges has commissioned this composition. It has been realized in the studios of Radio Hilversum.

Quarterly publication discussing various topics in environmental ethics, including features, discussion papers, book reviews, editorial commentaries, and other text related to environmental philosophies. Some issues also include announcements and other news related to the environmental studies community.

Quarterly publication discussing various topics in environmental ethics, including features, discussion papers, book reviews, editorial commentaries, and other text related to environmental philosophies. Some issues also include announcements and other news related to the environmental studies community.