"Across the Evening Sky" consists of sustained, slowly changing sonorities and pedal figures which gradually evolve across a variety of registers, densities and intensities. Formal cohesion is achieved via a process akin to isorhythm, wherein large-scale repetitions occur at varying rates, thus resulting in ever-changing juxtapositions of material. The composition was realized at the computer music studio of Northwestern University in the winter and spring of 1987, and received its premiere at Dartmouth College in October of that year.

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.

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

Aquaforms is a one-movement composition for computer-generated tape which explores various timbres that give the effect of light refraction under water. Atmospheric depth and pressure of the water environment is accomplished by movable reverberation and filtering with a variable band pass filter whose center frequency is at least 2 octaves above the fundmental frequency. Under water flute instruments are constructed by the process of spectrally warping synthesized flute tones. The musical structure of the work is based on trichordal relationships which employ procedures of transposition, inversion, complement mapping, similarity relations and multiplicative transformations.

Arghanum (Gk. organon), arabic name for the byzantine organ. According to Ibn Khurdédhbih, writing in the 9th. c., it had bellows of skin and iron, and the word "arghanum" was interpreted as meaning 1000 voices. Arghanum III (1987-II) : the composer explores the myriads transformations possible when sampling materials out of his own earlier [mostly vocal] compositions. The result is somewhat autobiographical: primeval, organic, watery sounds, perceived as through a mist, floating, with remembrances of unclear events, faint voices trying to penetrate a thick wall of sound. The tape part was realised at the SHELAN studios.

Arghanum (Gk. organon), arabic name for the byzantine organ. according to Ibn Khurdädhbih, writing in the 9th. c., it had bellows of skin and iron, and the word "arghanum" was interpreted as meaning 1000 voices. Arghanum IV uses a technique based on remembrances, mostly achieved by extracting materials from earlier compositions by lanza. Arghanum IV takes materials from the vocal pieces Penetrations VII and Ekphonesis V [written for and recorded commercially by Meg Sheppard]. The work also uses sounds taken from the percussion pieces Sensors I and Sensors V. Arghanum IV also includes instrumental, industrial and human sonic events rescued via sampling from the recent past. The tape part was realised at the SHELAN studios. Some digital sound processing was done with a Synclavier Digital Synthesizer, at the EMS, McGill University.

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.

The electroacoustic composition "The Ballad about Wood" on fragments of Béla Bartokos' viola concerto was premiered at the Electronic Radio and Television Studio in Budapest in collaboration with engineers Peter Janik and Jan Backstuber. It is based on two elementary sound structures: the structure of the wood and the structure of the polystyrene. These structures are treated analogically, like the fragments borrowed from Bartok. The contrasts and affinities of these structures that seek to achieve unity are the bases on which Bazli built the dynamic form of this composition.

Science is capable of everything. One must try to embellish and improve one's inner power through science. We can neglect everything except science. The soul is like an oil lamp whose science is the flame. The miracles of the gods are the oil of this lamp. If it burns and shines it means that one lives. Without this force of light we belong to the dead. Poem of the famous philosopher and doctor Ibni Sina, 980-1037. The music emphasizes the meaning of the text of the poem. The text of the main message (science can do anything) is understandable while the rest of the text is not. The way of the composition is the onomatopoeia and the game with the words. Only sounds pronounced differently in the Turkish language are applied. In addition the composer uses the meanings of the rhythms and the Turkish scales which are underlined by the music.

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.

Based on 5 poems of Afanasij Afanasevic Fet, russian romantic poet (1820-1892) recorded at St.Petersburg Radio and Television Studio. The St. Petersburg Conservatoire Choir, conductor: Nikolaj Kornev, vocal: Boris Karandasov, electronics: Dmitri Pavlov, sound engineer: Vladimir Lukitchev 1990 "My Native Land" composition for electronics recorded at St.Petersburg Radio and Television Studio electronics: Dmitri Pavlov, sound engineer: Vladimir Lukitchev

Canticum (1987) was composed at the Electronic Music Studio A of Stony Brook University. It uses exclusively analog techniques of sound manipulation, based on the spoken word as compositional material. The text consists of a fragment of the Psalm 34, in Latin. In this work the technical virtuosity, and the sudden alternation of different textures allows the dialog tension-resolution, that even in the end of the piece never seems to arrive to a final conclusion.

This composition continues the development of a musical language based on the color of unusual acoustic sounds. In this case the predominant use of inharmonic timbres (metal, multiphonics and a non-octave tuning system), creates the language that our musical traditions has for the most part ignored. A series of sections or "windows" based on specific sound sources has the listener "caught" by their interactions. Overall structural integrity is maintained by the reuse of similar gestures, colors and tuning system. The composition was created entirely through digital recording and mixing of acoustic sounds and no electronic effects or processing was used. This working method combined with the compositional decisions produces a pure, untranslatable, and sensuous immediacy to the music. This immediacy is partly created by the recording techniques which accents the presence of the performer behind each instrument. Therefore the piece continues the composers' polemic against the increasing depersonalization of music made by electronic synthesis. By capturing the irrationality and irregularities of human performance this composition suggests an alternative way of allowing the human presence to be perceived through the vastness of the technology used to create such a composition. In this sense the deadening skin of sound habituation is peeled …

It is a mixed piece for amplified classical guitar, electroacoustic support and real time transformation devices, composed in 1985-86. The title recalls the homonymous Roman of Marco Denevi. For the production of this piece at the Studio of the Technical University of Berlin, the author received the Berliner Künstlerprogramm grant from DAAD (Deutsches Akademisches Austauschdienst, the German Academic Exchange Service). The electroacoustic medium uses exclusively guitar sounds, recorded and transformed. Two real-time devices are used: a) a PUBLISON, a device that changes the pitch and timbre of the instrumental sound, and b) a multitrack delay developed by technicians from the Studio of the Technical University that allows very precise offsets. The piece has two parts: in the first, the instrument transformed by the devices is at a level with the electroacoustic support, configuring a narrow musical texture, complex, and sometimes very pocket noise. In the second part of the work, the electroacoustic support becomes the accompaniment of the soloist's game realized by the guitar. Here, the texture abandons its complexity to build a characteristic modal climate. The version of the CD has been interpreted and recorded by the composer himself. Technical assistance for the realization of electroacoustic support: Folkmar Hein.

The text of Jean Giono, a prelude to his great novel, underlined by the sounds of nature, their treatment and their setting in space. A listening to to hear only the lullaby sung by the world "...

Of course, this Chiaroscuro is one of shadows and light, of opacity and transparency of sound, of the incertitude between one and the other. However, beyond this, it is the ambiguity, the hesitation between spoken and suggested, between face and mask (warning : a sound may hide another), between manifest and latent, enactment and illusion. "Trompe-l'oreille" music. As in much of my work, certain sound elements come from earlier pieces and are developed anew here. I like the fact that the discourse is continued, completed. Besides - and in homage to the composers of the Montréal concert organization "Les Evénements du neuf" (1978-89): José Evangelista, Denis Gougeon, John Rea and in particular to the memory of Claude Vivier - I gave in to musical larceny (with the unwary complicity of its victims) which, I hope, creates an iridescence here and there, a volontary enigmatic contrivance. Mutation of the musical instruments : mobility, relief, colors among the shadows...

This work focuses mainly on the study of the various resonance times of percussion instruments, in a continuum idea from the longest resonances to the briefest ones. The rhythm follows a similar curve, starting from non-rhythm to an increasingly fast pace. Everything is built on a single rhythmic cell. The piece is for multiple percussion and tape.

The fifth season, metamorphosis of music. It is the season written by man for man, the useless after the useful. Sometimes an imitation of nature and the changes imposed on it, caricature. From birth to death, from love to oblivion, it is destiny that makes a story, but not history. The fifth season is the eventuality, a stage, a possible continuation of the "Four Seasons" frozen cycle of the past, pardon ... of the present.

This work is the sounding of a simulation of the Brownian motion. First, the computer makes a simulation by using the random numbers. I used the every time numbers as the random seed. So, there is no equal playing. It always changes the form. Next, the information and the data of the simulation are converted into the data of the sound (frequency, envelope, rhythm, etc) by the computer. But a tone colour is fixed. The computer brings the sound date to a kind of LSI that we call PSG (programmable sound generator) and commands the PSG to sound. And the sound is added to 4 kinds of reverberation and some dimensions. The sound looks like the chaos.

The work starts from the idea of using a great heterogeneity of sound, a profusion of elements, from electronic, instrumental and vocal sources, sounds of nature, etc. This is due to the fact that the composer seeks a result that is constantly changing, so that it is neither iterative nor boring. The other characteristic of the work is the coexistence of certain rhythmic, periodic, melodic and tonal elements, with sounds more specific to electroacoustics.

"Credo Epochula" was composed with basic elements that are computer-generated percussion, spoken voices produced electronically and naturally. With the exception of some brief notes by Joyce Cary, the text is original.

Cricket Voice is a musical exploration of a cricket, whose song I recorded in the stillness of a Mexican desert region called the "Zone of Silence". The quiet of the desert allowed for such acoustic clarity that this cricket's night song-sung coincidentally very near my microphone-became the ideal "sound object" for this tape composition. Slowed down, it sounds like the heartbeat of the desert, in its original speed it sings of the stars. The quiet of the desert also encouraged soundmaking. The percussive sounds in Cricket Voice were created by "playing" on desert plants: on the spikes of various cacti, on dried up roots and palm leaves, and by exploring the resonances in the ruins of an old water reservoir. Cricket Voice was completed with the financial assistance of the Canada Council. The composition is dedicated to Norbert Ruebsaat, who wrote: It's hard to be a night in the desert without the crickets. You make it with stars. You make it with the skin of the desert night. You stitch those two together sky and earth. You find it with your cricket voice.

This piece has been conceived from a basic idea, the result of astronomic observations of galatic cumulus. Paul Couderc, in his book "The Universe" (PUF, France 1955) asserts that it has been long observed that galaxies tend to go together in small groups. Later, he says, one has noticed the existence of two or three dozens of large cumulus which amass galaxies in very thick formations, by the hundreds and even by the thousands. So the cumulus existence would seem to refute the findings on the homogeneity of the stellar population's distribution in space. However, homogeneity applies to so vast domains that a cumulus' effect is of no importance. There is homogeneity of superior order, an homogeneity in the cumulus' distribution when they are considered in large number. On the musical point of view, "Cumulos" develops through very large and dynamic sound complexes which are going to concentrate or deconcentrate like true energy buildings-up. At the same time, the contrast between these agglutinations and some much smaller and simpler sounds (even reaching silence) is going to produce an idea of homogeneity that is noticeable only in the work's global context where the vast and unpredictable sound evolutions through their different …

Design for an Invisible City, composed in the Spring of 1987, was inspired by Italo Calvino's book Le città invisibili. In Calvino's book, Marco Polo entertains Kublai Khan with descriptions of the cities he has seen on his travels: cities exotic, mysterious, fantastic. Design for an Invisible City refers to the portion of the book in which Marco describes the city of Valdrada, a city built on a lake, so that there exist two cities; both the city itself and its mirror-image in the lake. Marco describes the peculiar awareness that Valdrada's inhabitants have of their reflections, an obsession which influences their every action. This duality and the idea of reflections is echoed in the music in many ways, most obviously in the repetition of gestures between the two channels, but also in the pitch material in terms of inversions and imitations. The timbres used are mostly transformations of a filtered noise design, some versions of which are evocative of a vocal sound. Finally, the all-pervasiveness of the reflecting waters of Valdrada suggested the musical texture of quiet, pitched-noise sounds beneath brighter and more extravagant gestures.