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1...789: Haris XANTHOUDAKIS: 1 ... 789 It is the setting to music (of the "setting in rhythm", more precisely) of two Greek texts talking about the French revolution and illustrating two opposite aspects of its impact in Greece, still occupied by the Turks, of the end of the seventeenth century: a "Patriarchal letter" (sort of circular of the Patriarch of Constantinople, to read in the Orthodox churches), condemning the French who "practiced the fraticide, killed their king and lost their faith in God" (in this order) and, on the other hand, a poem by Antonios Martelaos (1754-1818), congratulating the French for having shed blood for the freedom of the people. The first text is played at the beginning and end of the song (phonetically reversed and in a normal voice, respectively). The other forms slowly, parallel to a rhythmic accompaniment, of "disco" nature. This double reconstitution will be done in steps of proportion 1: 2: 3: ...: 7: 8: 9. A portion of this proportion, namely 1: 7: 8: 9, serves to generate an interval pattern (semitone, fifth, sixth minor, sixth major) that appears in both its sequential and simultaneous forms. Repetitive music, "disco" music, serial music, for a piece that wants to celebrate a bicentennial, its contradictory way, while keeping its distance.
3 divertissements numériques (1 franchir le rubicon, 2 fission, 3 mange ta télévision): Recording of Jean-François Cavro's 3 divertissements numériques (1 franchir le rubicon, 2 fission, 3 mange ta télévision). This work is created with electronics and uses traditional electronic technique. There is present noise elements within this work's texture, which establish a good balance within the orchestration of sound. By working with electronic sound effects and pre-recorded sounds of many qualities or frequencies, balance is found.
4 Piezas Instrumentales: For being the round world, who walks away in the East looking for new landscapes, after many trips and adventures he will return to the starting point from the West ... perhaps without wanting to or looking for it. By listening to these 4 instrumental pieces, you will think that they consist of an interpretation made for traditional music instruments. However, for me, the composer is nothing but a new experience in the field of technological music. In this case the experimentation consists of a program that improvises, plays, exchanges in many different ways an initial succession of tones giving rise to very different sound tissues. It is an experiment of the same complexity and quality as others that I have used in the past and that have given me totally different sound results. In this case the experimentation uses shades of defined and adjustable height, creating clear intervalic, acordic, polyphonic organizations, etc. In this domain, a similarity with instrumental music is inevitably obtained. I did not want to avoid this reality using bands of noise or continuous changes of harmonicity, but, on the contrary, I highlight the winter using homogeneous sounds that parody some known acoustic instrument. The four instruments chosen are: Trumpet, Marimba, Voice and Guitar. These instruments are presets of the Yamaha DX7II with all its advantages and disadvantages. I chose a solo arrangement for each extremely sharp instrument in terms of interval discourse and thus obtain a better appreciation of the different games, canons, permutations, dynamic levels, ornamentations, etc., which developed the program. Each in semitones. The scores corresponding to the pieces of Trumpet, Marimba and Guitar are recorded on diskettes, constituting "tapeless music", bone music that can be played directly by operating the computer to the digital synthesizer. The vocal piece has been made in …
12 haiku pour la paix céleste: Recording of Bernard Fort's 12 haiku pour la paix céleste. This piece is for 12 haikus for celestial peace. Haikus are very short Japanese poems which with reading, demonstrate the way of photography, as moments, sensations and feelings. There is a wide variety of both synthesized sounds and manipulated samples.
1789-1989: Recording of Juan Blanco's 1789-1989. This piece aims to expose how the French Revolution, through the Declaration of the Rights of Man and of the Citizen, inspired the liberation movements of the people against the oppressive and tyrannical governments. The piece is divided into two parts, which give a sound panorama of the triumph, using electronic and acoustic equipment, the latter taken from songs of the time: "Departure to Place de la Bastille"; "Place and capture of the Bastille", "Lamentation of Louis XVI" and "The Permanent Guillotine", and ends with a few words from the Declaration of 1789, in French.
1789 Libegal FRA: Ivan PATACHICH: 1789 Libegal FRA The title of the play is a date, known throughout the world, and an acronym containing the first syllables of the three slogans of the French Revolution: FREEDOM, EQUALITY, FRAternity. The sound materials of the play are those three words spoken and sung in nine languages, French, English, Spanish, Chinese, Arabic, German, Erithrenic, Russian, Hungarian, and the sampled structures of the vowels and consonants of these notes in nine languages, as well as two concrete sounds. These sounds are interlaced by a pre-recorded and modulated percussion part and another one of percussion "alive" / live / without modulation. The work has nine parts "atacca". Its bridge shape is phrased by rhythmic contrasts. After the fifth section, the sections return "in crayfish", but in a varied form. The stereophonic work was realized with the collaboration of Istvan Horvath, sound engineer, Gabor Kosa, impact, Agnés Mester, -soprano, Gabor Olah, -Baryton.
Acuerdor por Differencia: Picture yourself travelling at ease on the train. As you look through the window, you notice the power cables, which run parallel to the tracks. As your eyes follow them, they seem to turn giving the impression of a volume that gently and continuously rotates as it changes shape. This flow seems to accelerate before being momentaneously interrupted by the posts that hold them at more or less regular distances; this is immediately followed by the previous soft change as you recapture the perspective of the hanging cables. Of course, you easily deduct how the illusion works and soon are off onto something else more productive. But imagine you were in a position to determine a few things beforehand, says the distance between posts. Or, if you are of the impulsive "hands on" type, imagine you were able to change the speed of the train instantaneously at your will. You would then be able to effect changes in the evolving pattern of the cables and on the rate of the change itself, thus giving the whole illusion a direction and a life of its own right in front of your eyes. In Acuerdos por Diferencia I have attempted to draw a musical parallel with a similar sort of speculation. So many of the gestures and rhythmic objects in the music commence or finish on a point of accord (Acuerdo), from which their flow continues or emerges. A great deal of variation, differentiation, juxtaposition and superimposition (Diferencia) between computer and harp takes place between those points, their appearances being also subjected to quick "edits" and variations in speed. Thus my title can be freely translated as "accords within difference". I have used mostly harp, lute and vihuela sounds for the computer part, which was realised and recorded at the studios of …
[Adam Nussbaum Lecture, February 28, 1989: Part 3]: Jazz Lecture Series presentation by Adam Nussbaum on February 28, 1989 at 2:00PM at the UNT College of Music. It includes a lecture and performance by Adam Nussbaum, drums, interspersed with questions from the audience.
[Adam Nussbaum Lecture, February 28, 1989: Parts 1 and 2]: Jazz Lecture Series presentation by Adam Nussbaum on February 28, 1989 at 9:30AM at the UNT College of Music. It includes a lecture and performance by Adam Nussbaum, drums, interspersed with questions from the audience.
Aglavaine et Selysette. Musique de scène: Recording of Annette Vande Gorne's Aglavaine ed Selysette. Musique de scène. This work uses traditional electronic technique to manipulate sound and create a eerie soundscape. The use of sound within the space is truly key within this work. The sounds are all around the stereo system and sometimes sound closer and further away.
Akaklaklak: Akaklaklak is more than a radio play - it is a radio performance - it is first a radio composition... - but also a study of the creative use of modern computer technology - further it is a trip to virtual sound in space - and an attempt to develop radio's acoustic story telling - Radio Art... also performed in other spaces with visual elements - it is a performance with authors playing live with their magic instruments - cycle of 25 mixed media paintings - an folia installation with 300 pictures on windows, glass portales - 300 folia pictures hanging in trees - 130 pictures on cork plates - an outside radio spectacle for a loudspeaker orchestra - live 8-track mixing, a five floor high vertical sound sculpture - a television documentary of authors' sound art directed by Iza Lewenstam Main instrument: Human voice, the paragon of all instruments Others: bird skulls, bones, wooden flutes, stones, bows, drums, bowls, hay, horns, seeds, sand, stamping tubes, rain sticks, bull-roarers, aerophones, rattlers, didgeridoos, dance tubes, computer programmes, samplers, multitrack tape recorders.
Alcoforado: Alcoforado is a fuzzy, vaguely remembered portrait of a woman whose passion for passionate love letters will ensure her a place in history - as in the case of the original Alcoforado, a XVII century Portuguese nun who shared the same passion. Incidentally, this is all that is known about her but - one must admit - is sufficient to make one envious. Stanisław Ignacy Witkiewicz (also known as Witkacy), a Polish painter, writer and philosopher, was a man of unusual energy which he expended on opposing any and every kind of orthodoxy - whether artistic, political or religious. He was perceived as an enfant terrible of his time, rigorously antagonistic to the uniformity of dogmatism, seeing it as a tool for enslaving the mind. Witkacy foresaw very early on the disastrous results of one such ideology - communism. Stanisław Ignacy Witkiewicz remained faithful to his ideas to the last day of his life, committing suicide on September 17, 1939 - the same day that the Russian Red Army crossed the eastern Polish border, helping its Nazi allies in fighting Polish troops. In Witkiewicz's prolific artistic output, there is a number of portraits of women entitled Alcoforado. These portraits present women's heads against fantastic and surreal backgrounds. This composition attempts to capture this idea. Alcoforado is an homage to Stanisław Ignacy Witkiewicz and was commissioned by the National Museum in Warsaw for the first complete exhibition of his works since his death. The piece was premiered on 18th of December 1989, the day the exhibition opened.
Ambon-Ulan-Alon: Recording of Marie Pauline Esguerra's Abmon-Ulan-Alon. The title of this piece (Rain-rain-waves) reflects what is to be perceived as aquatic quality. Water and rain is the majority of sound material used in the piece, primarily in the way gestural sound objects, when iterated and developed in different ways, create larger, textural events, which continually shift the listener's focus.
Anaconda: "Anaconda" could be labelled as a "naturalistic" work. Conceptually, the piece relies on the imagery provoked by the sound, and on the immediacy of the sound world and the integration of the flute part in terms of sound texture and musical material. Broadly, this work can be divided in three parts: 1) The very beginning represents the location : jungle, unfamiliar, exotic, moist, exuberant and very importantly, claustrophobic ( this last is maintained throughout the piece). It is here that we get our first glimpse of the anaconda, who, very soon embarks with his song, which is not unlike a requiem, but at times, this song or narrative, is interrupted by the sound of the anaconda itself and by its environment. It is very much like moving between 1st and 2nd person. 2) The environment is disrupted. Foreign sounds and activities invade our location. The jungle moves, everything is in motion, fear and flight take over. But, suddenly, we realize that there is a certain gracefulness in all this motion, that the flight is but a retreat, a withdrawal into itself, nature and eternal life, with the certainty of a return. 3) The rebirth. Like the Phoenix, the Anaconda is reborn, as myth, and as the reality of wisdom. A reflective and poised character, strengthened by the experience, the Anaconda reasserts itself, its place in relation to the environment, and its place in relation to us, the spectators, and at times participants of its story.
Antiphonae: Was initially conceived as vocal music for two choirs, however the computer realization, which I prepared in 1987, took over from this first conception and resulted in a piece that would be hard to define. A11 the sounds have been synthesized. They originated by direct sound synthesis on the WAX/EMS computer using the CHANT program. These sounds created in the first two minutes of the piece. The sounds for the subsequent 12 minutes which form a kind of variations, are transformations of the original material, either through digital reverberation and delay or using voices and sound layers super imposed onto one another. They were realized at the polish Radio's Studio Eksperymentalne" in Warsaw in 1989. The central idea of the piece is the progressive decomposition. Starting from the "realistic" vocal sound it leads onto more and more "electronic" idioms, which never less retain elements of their vocal origin. The world premiere of the piece took place at the Techno-Musical Biennale in Koriyama, Japan in August 1989.
Arder: Recording of Rodrigo Cicchelli Velloso's Arder.
L'argent… toujours l'argent !: A study on the coin as an object of reflection (sound value) and as a reference object (advertising). Like a frantic race to save time, the isolation of speed, the quest for the ephemeral. A look at human anxiety.
Awaking (the first awaking the second water): This piece is in guest of the real chances of a dream world coming true, whose incessant changes lead its way into an infinite make, only awakening opens gate a reality. A new space is created. The "water" is incessant struggies of life for realisation. It is the constant recurrence of hope, struggle, and annihilation. Reality is alarming; it would like to escape into a dream. Then everything begins again.
Beauty and the Beast: Recording of Barry Truax's Beauty and the Beast. This work is for narrator who also plays oboe d'amore and English horn, computer images, and two computer soundtracks. The computer graphic images and text were created by Theo Goldberg. This is a modern retelling of the traditional story of a young girl's voyage of self-discovery through her encounter with the Beast in the enchanted castle. This version of the story is a modern interpretation as suggest by Bruno Bettelheim in his 1976 book The Uses of Enchantment. Beauty and the Beast was commissioned by oboist Lawrence Cherney for the Musical Mondays series of young people's concerts, with the assistance of the Laidlaw Foundation and the Music Section of the Canada Council.
Bells: The music of this work is just made by sounds of the electronic bells of the Yamaha DX 7 II FD. There are no other sounds.
Bilad: Recording of Thomas Bjelkeborn's Bilad.
Carnet de voyage: Travel notes of a little white man in Africa. Shocked by this world, new to me, I tried to transcribe the sensations that I could have while traversing Madagascar: a shock of cultures, thoughts, way of life ... and the position, by always convenient of Western in this country. For each small movement (more or less chained) that could be the pages of a notebook, I looked for different qualities of sound rendering: distant images, flores, under water, opias, aging. ... And then that feeling of always coming back to the same thing ...
CBS Nightwatch - Duke Ellington, April 28, 1989 / American Masters - John Hammond, August 20, 1990: Videotaped recordings of the April 28, 1989 episode of CBS Nightwatch, and the PBS American Masters documentary John Hammond: From Bessie Smith to Bruce Springsteen. Willis Conover is interviewed along with Mercer Ellington in the CBS Nightwatch segment beginning at 10:19. Due to copyright restrictions, streaming access is embargoed.
Ce que Signifie la Déclaration des Droits de l'Homme et du Citoyens de 1789 pour les Hommes et les Citoyens des "Les Marquises": 17 articles of the Declaration of the Rights of Man and Citizen extracted from the French Constitution of 1789 are read by a 100-year-old woman who was born in France and grew up on the island of Nuku Hiva in the "Marquesas Islands" . The sound materials of the piece were recorded there in December 1988. The work is dedicated to the village of Anaho.
Childwood Reminisceces Souvenirs d'Enfance: Musical work for two pianos and electronics. An original work of meaning and form, it provokes the imagination for a moving journey that takes its source in the carelessness of childhood and continues through the difficult paths of the "things of life". There is a striking optimism and inexorable faith in one's own strength. The author is looking for a ford that will take him out of the disturbing contradictions of the century that is going away. The listener finds refuge in the musical images of childhood, but not for long ... Life is relentless, full of pitfalls, disparate, vibrant with dynamism. Could we for a moment take refuge in the memory? Soloists; Markrit and Esther Berberian
Chordis Canam: A recording of Roderik De Man's Chordis Canam. De Man composed Chordis Canam as a tribute to Annelie de Man and to Sies Bleeker. All sounds, except one, were derived from this harpsichord, no other equipment than microphones and tape recorders was used.
Cithare: Recording of Claude Jordan's Cithare. Work made up of 3 movements, whose basic material is fragments, samples taken from a traditional instrument frequently used in German-speaking Switzerland: the "Hackbret" or "Citre". Much of the sound processing has been done around transposition and reverse playback bringing an unusually resonant and percussive aspect of the original instrument.
Clarienen tres (version para vila): Recording of Gabriel Brnčić's Clarienen tres (version para vila). This work is a 3-voice polyphony crafted with an algorithm developer and written by a computer. In Clarinen tres, the instrumental soloists follow the path of the recorded sounds with the same melodic approach. There are other versions with clarinet, alto flute, viola, and cello.
College of Music program book 1988-1989 Vol. 1: Fall/Spring performances program book from the 1988-1989 school year at the University of North Texas College of Music.
Concertino: The last few years have witnessed the appearance of highly-specialized fast microcomputers capable of synthesizing complicated spectra in real time. The establishing of MIDI communication protocol provided a precise and efficient way of controlling them by means of such devices – familiar to every musician – as keyboard, violin or drum. Implementing high level language compilers in micro-computers created the possibility of using them for generating non-trivial streams of MIDI signals, significantly enhancing the performing capabilities of humans. And since everything is happening in real time the performance nuances of pitch, dynamics and tempi of the piece can be controlled during the playing. It seems that this new technology will allow to overcome the rigidness of tape – an ultimate form of musical recording. All electronic sounds used in Concertino are generated by two Yamaha TX816 digital synthesizers. MIDI signals are produced by a Yamaha KX88 keyboard and a MacIntosh computer. The program collaboration in controlling the synthesizers was written in LeLisp at IRCAM, in the early months of 1987. France is also responsible for the Dorian flavor of the piece since all the music was derived from L'Homme arme – a fifteenth-century French song. The saxophone part is written out freely, allowing a performer much freedom for shaping the content of his part. The piece was completed in Stanford, in June 1987.
La Confession: This work was created from a story entitled "The Confession" that I wrote in 1989. In Spanish originally, it was translated into Hebrew, French, English and German. Some of these texts in different languages have been integrated into the work. "Confession" records the psychological oscillations - from mental stability to madness or vice versa - that the protagonist goes through. "The Confession" of the human voice, the electronic instruments (synclaiver), the acoustic instruments (harp, trombone, cello, flute, percussion) and the concrete sounds create a semantic interaction with the syntax of the musical language.
Contact: The Desert Burning, scorching The Wind Scratching, tearing The Rain Penetrating, driving The Waves Endless, drenching But nowhere a cup to quench The Thirst Relentless And when our eyes met and we began our run and when it was over: We were one "Contact" was composed for Canadian Contact dance troupe Au-delˆ Danse and has been winning international awards in Bourges, New York, Montreal and Britain.
La couleur tombe, l'homme reste: "There is oppression against the social body when one of its members is oppressed, there is oppression against each member when the social body is oppressed". (The Declaration of Human Rights and Citizen 1793). Order of the GMEB, "The Color" is composed by Marilyn Boyd DeReggi specifically for the courtyard of the Palais Jacques Coeur. The work commemorates the emancipation of the exclaves in the French colonies in 1793, almost a hundred years before slavery was finally abolished in the United States. The title is derived from the last line of a popular song of the revolutionary period that frames the play. The other musical materials were taken from the Gospel music of the "Jerusalem Baptist" church, a small black parish in the Maryland countryside. The music was recorded on Palm Sunday. "Free at Last," sung by Carlton Talley was an emancipation song first heard in Virginia the day after the liberation of slaves, now sung as a Gospel anthem Mr. Talley officiates at church and sings Gospels in the churches, the prisons and the Old Men's Centers (!), since the age of eight when he started singing in a quartet with his father and two brothers. He was chosen as a soloist not only for the beauty of his voice but also because he symbolizes for the composer purity of soul. We shudder to think that the grandparents of most of the people of this parish were slaves. The percussion instruments of the first part were created by imitating the beatings of the feet and the hands of the people of the church with the kalimba and the marimba. The vocal duet is actually only Mr. Talley's voice. The multi-media aspects were developed in collaboration with Mark Gaster, Gayle Behrman, Renee Butler, Mary Koong and Doug Quin. The composer …
Cuatronsa, por ella misma: Recording of Gabriel Jorge Cerini's Cuatronsa, por ella misma. This piece was created and inspired from drawings created by the composer, which were developed by gathering inspirations from abstract sonic landscapes. The work is part of a group of pieces which are called Cuatronsos (two of which are for three instruments and white noise). There are sounds produced by a Kawai K1 synthesizer, which is programmed in a hardware sequencer Kawai Q80.
Cygnus for environment-driven computer music system: Recording of Allen strange's Cygnus for environment-driven computer music system.
Cymbal Simon: This piece is a musique concrète study of the cymbal. One eighteen-inch cymbal is the only sound source. The focus taken while composing this piece was to compare the distinctive attack and sustain portions of the cymbal. Then to transform each one into the other, creating new sounds to work with.
Daffodil: This piece is based on an improvisation from concrete and electronic sounds that are No plan of any kind preceded my different work sessions in the Studio and most forms (sound events) were produced only once on an 8-track recorder tape recorder. Instrumental improvisations made by Luis Boyra (Electric Guitar), Roberto Garcia (band manipulations), and myself (flute) can be heard throughout the room ordered from rather crude raw recordings to elaborate mixes (fragments pieces of tape for myself and the band Sol Sonoro).
Déchaînement II: Jan Boerman: Unleash II (1984) "Unleash II" for percussion, live electronics and tapes was composed in 1984 for the Johan Wagenaar Foundation. "Unleash II" is one of a series of three pieces, namely: - Unleashing I (1982) for tape and electronics. - Unleashed II (1984) for percussion, live electronics and tapes. - Unleash III (1985) for bands. These three pieces are - in terms of tapes - from the same electronic equipment. The shape and development are totally different. However, identical nuclei are found in every room. The live electronics in "Unleashing II" is limited to trial and error (with contact microphones) of a sound pipe, a gong, a tamtam and an aluminum plate, as well as amplification. respectively the choking of the high and low elements of the sound.
Déclaration des Droits de l'Homme: Recording of Sten Hanson's Déclaration des Droits de l'Homme.
Deep Mountain: Prior to composing "Deep Mountain", I wrote, in cooperation with my professor, Keith Hamel, procedures in the "object logo" programming language which would allow me to experiment with digital synthesis on a Macintosh computer. Following the completion of many similar timbres (most being short and having metallic or pizzicato string-type characteristics), I loaded these sounds into the Sound Designer program, for further manipulation. From "Sound Designer", the sounds were sent to the Akai 5-900 sampler, after which I could begin composing. No digital effect or sound processing is used anywhere in the piece on an extra-musical level, "Deep Mountain" is a story of mountains both natural and psychological, though there many be many more interpretations, which I encourage. A number of tracks were purposely mixed well below the other tracks, so that at times one hears or makes reference to a sound which is present, and at other times one imagines he/she is hearing something amongst ther mass of thousands of attacks. "Deep Mountain" was inspired by a painting by Francesco Clemente.
La Dernière Pavane: Let us hasten, time flees and we drag along with us, the moment when I speak is already far from me. I like the quotes ..... Today they are so serious that they were in their fun time. They reflect a mentality whose image has faded for a long time. It is especially the musical quotations which, detached from their context, make a forced call to our recognition. Language and music have in common that they become, put together, anecdotal. Impotence takes me in front of commemorations. So I tormented myself, soon provincial composer in a new united Europe, which evokes a revolution that took place 200 years ago. Unimaginable to note all this in irony. A respectable dose of false romanticism may be enough in the tone. Formerly, in 1789, many heads fell. "The last pavane" is a walk, the surrealistic representation of a march to the scaffold. A pas de deux with time and death, jerky and veiled with quotes from different periods. And the doctor guillotine waiting for his patients to soften this last moment.
Un des Mille Effets de la Liberté: "Around a revolutionary harpsichord destroyed, defended or discredited, the anodyne fanfare - drum - of - the - death - which - us - monitors - without - any - cry. That every limit in the universe is a sensation of slavery. That the remedies are out there, and they have what this music has of indifference for the astute guillotine, theme welcome for those who inert or appropriately absurd, contemplate the disappearance of what is foreign to them ".
Deus ex Kommagena: Recording of Wolfgang Foag's, Deus ex Kommagena. This piece is built up as a "triptychon", combining a church tune with a harsh melody figures and chords in the central part. The recording equipment includes: studiomaster 12/2B, TEAC 80/8, FOSTEX 20. The instruments heard are Sequential Circuits Multitrack, Yamaha TX81-Z, Washburn Delay WD1400, Yamaha MCS2.
Dialog II für blockflöte und computer: "Dialog II" is a composition about the songs of the humpback whales. Wales are able to compose songs, consisting of six themes, which can be each separated in 4 or 6 motives. These motives change during the travel of the whole group of whales from the North Pole to the South Pole and back wards. Time after time new motives come into the song, others are lost. This idea is the idea of the composition. Between the musician and the computer begins an interactive process, both are getting more and more to a unit. The playing of the musician controls the out put of the computer. The output of the computer controls the out put of the musician. The score exists in form of a computer score, which is put on the computer screen. The computer score is generated live while the performance and is in every performance different. The composition is a real time composition in which the musician controls with his play his intensity the process and duration of the composition.
Disclosures: Recording of James Dashow's Disclosures for cello and computer performed on cello by Francesco Dillon. Disclosures was composed for several cellist friends of the composer; the computer part was realized at Centro di Sonologia Computazionale (CSC) of the University of Padova using the composer's version of the MUSIC360 program for digital sound synthesis (B. Vercoe); post-synthesis digital mixing was completed with ICMS (G. Tisato). Disclosures has been recorded on a NEUMA CD, Boston, MA., with Francesco Dillon, cellist.
Distractions pour l'Éternité: Distractions for Eternity is the last - for now - works of Kosk. A work born from an order placed with the Musical Research Group but, as is often the case, the final result and the first ideas have changed along the way. The arrangements for the material used for this composition were made at the GRM studio in Paris, but the mixing, and thus the work of final composition, took place in Helsinki in the autumn of 1985, in the calm of long days and nights. white. Kosk's method is deductive. The composition of the entire work was born from two recordings of about 10 seconds each. One contains the sound produced by the rotary movement of a kitchen whip, the other sound is produced by the friction of the blades of two swords together. From these small cells and their transformations is built a static music, severe, one of the main parameters is time. In other words, as its title says: what distractions do we need in eternity?
Doctoral Lecture Recital: 1989-03-20 – Marilyn W. Shotola, flute: Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Doctoral Lecture Recital: 1989-04-17 – Kristine H. Kresge, conductor: Recital presented at the UNT College of Music Concert Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Doctoral Lecture Recital: 1989-06-26 – Randy Mitchell, trombone: Recital presented at the UNT School of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Doctoral Lecture Recital: 1989-06-27 – Steve Wolfinbarger, trombone: Recital presented at the UNT School of Music Concert Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

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