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Recording of Sten Hanson's 96. "According to Amnesty International, there are 96 countries in the world that have political prisoners. In most of these countries, there is clearly physical or mental torture that is punishable by law and unlawful killings." Sound material includes sounds of doors shutting, locks locking, bells, ringing, etc.

Recording William Ortiz's 124 E 170th St. (for electronic tape, narrator, and percussion). It is a mixed electroacoustic work depicting the Puerto Rican urban experiences the United States: the struggle against the agony of the ghetto and against the imposition of a crushing colonial state of mind. The piece is a summons to awake from the broken English dream and assume the Puerto Rican and Latin American essence that belongs to us. The text was written by two Puerto Rican poets living in New York City: Pedro Pietri and Sandra Esteves. The music largely makes use of Afro-Caribbean rhythms, and involves theatrics.

Recording of Terry Setter's 950 for Bob. He describes this style of composition as "focusless music," which is structured in such a way that the listener always hears an undifferentiated sound continuum, making the smallest changes noticeable. The title refers to the length of the piece (950 seconds) and to Robert Ericksson, to whom the piece is dedicated.

Recording of Trevor Wishart's Les Accords d'Helsinki for tape.

Recording of Steve McCaffrey and François Dufrêne's Les accords d'Helsinki. These pieces are part of a suite for electronics. Sound materials include vocalizations and spoken text.

Recording of Alcides Lanza's Acufenos V, for trumpet, piano and electronic sounds. Written in 1980 for the trumpet player Robert Gibson, who did the premiere performance at Pollack Hall, Montreal, with the pianist with Alcides Lanza at the piano. The tape part of Acufenos V was made from sounds of recorded trumpet, with a diversity of mutes and styles of playing, and electronic imitations of the same sounds. Acufenos is a Spanish medical term meaning "tinnitus" (tinnitus: from the Latin ringing, French tinnitus or acuphene. It is the past participle of "tinnire", to ring: a sensation of noise (as a ringing or roaring) that is purely subjective. With the carapace of a porcupine type of animal. The tape part was realized at the electronic music studio, McGill University, Montreal, and finalized at the private studio of the composer (Shelan Studios).

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 Trevor Wishart's Anticredos performed by Trevor Wishart. It is a live-performance piece for six amplified voices using extended vocal techniques, but no electronic modification of the voices. The piece, commissioned by the English group "Singcircle," takes the word "Credos" and slowly dissolves and changes its sound-constituents through processes of gradual transformation. This recording is a studio version of the piece "sung" entirely by the composer.

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 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 Barry Truax's Arras for four computer-synthesized soundtracks. Arras refers metaphorically to the heavy wall hanging or tapestry originally produced in the French town of the same name. The threads running through the material form both a background and, when colored, a foreground pattern as well, even when they are the same thread. In the piece there is a constant ambiguity between whether a component sound is heard as part of the background texture, or whether it is heard as a foreground event because, in fact, the frequencies are the same. The listener can easily be drawn into the internal complexity of the constantly shifting pattern, but at the same time can sense the overall flow of the entire structure. Arras is a continuously evolving texture based on a fusion of harmonic and inharmonic spectra. The large-scale structure of the piece follows a pattern of harmonic change going from closely spaced odd harmonics through to widely spaced harmonics towards the end. Each harmonic timbre is paired with an inharmonic one with which it shares specific harmonics, and with which it overlaps after each twenty-five second interval. This harmonic/inharmonic structure forms a background against which specific events are poised: shorter events, specific high pitches which otherwise would be imbedded in the overall timbre, and some percussive events. However, all frequencies found in the foreground events are the same as those in the background texture. The work was realized with the composer's POD6 and POD7 programs for computer sound synthesis and composition at Simon Fraser University. All the component sounds are examples of frequency modulation (FM) synthesis, generated in binaural stereo, with both amplitude and time differences between channels. However, considerable digital mixing, and later analog mixing in the Sonic Research Studio, produced the resulting complex texture.

Recording of Teresa Rampazzi's Atmen noch. After many months of researching the relationships between harmonic or better harmonic spectra, this piece was the result of that research. This research was done jointly with Rampazzi's student Maria Luisa Bon. The form of the work is sets of stamps and association between them and a Grecian-inspired Cantus Firmus. The groups are figurations of galaxies out of time.

Recording of Thierry Lancino's Le Banquet des Morts. This work was composed in the Computer Music Studio at Colgate University New York in February and March 1980. The studio, created by Professor Dexter Morril in 1971 offers a digital/analog converter built at Stanford by Joseph Zingheim in 1972-73. This converter is an interface with the Digital Equipment Corporation PDP-10 from the Colgate Computer Center. The piece uses software developed at Stanford, known as Music 10, as well as the score program created by Leland Smith, the Func program (allowing easy writing of functions) and the Gordon Ross Mixer program. The piece is therefore entirely computer generated. Two instruments used, one uses the principle of synthesis by frequency modulation based on an algorithm of John Chomning, the other the principle of additive synthesis based on an algorithm of Jean-Claude Risset.

Recording of Boyko Stoyanov's C.A.S. Stoyanov was inspired by the interpretation of Chopin's Op. 30, no. 1 by the Japanese pianist Rikako Akatsu, performed at the Chopin Piano Competition in Warsaw. In this work, the composer wanted to create a unique form, the basis of which provided by the electroacoustic music.

Recording of Lionel Filippi's Ceremonias. Starting from a basic idea (2 fragments of popular music from the North of Argentina) the work unfolds in various directions: the central idea evolving with interferences of certain elements which cut its continuity but do not distort his point: to relate totally opposite sounds both in terms of their origin (concrete, electronics, popular music) as well as their use and processing.

Recording of Martin Rudolf Schwarzenlander-Fischer's "Chacoel (Musik für den frühen Abend)" for tape.

Recording of Reed Holmes's Chalumeau Rain. The piece demonstrates the composer's concept of music as sound flow (a texture existing in time and space). For this reason, many of the clarinet sounds assume a gestural/electronic character. Chalumeau is a lyric expression of the electronic medium. The composer unites the live and electronic by using live clarinet sounds in the tape which have been manipulated by tape loops, reverb, phase shifting, reverse playback, amplitude modification and filtering. All pitch material is derived from a five note collection. Pitch material is developed by mains of various contours. Ascending, thrusting pitch series are expositional or developmental. Arch shapes exhibit stability and a relaxed character. Descending pitch contours provide or signal closure. Assignment and occurrence of these structural functions in Chalumeau is not simple. The composition grows from an interaction and mutual influence of the pitch and gestural ideas; often one idea dominant and others are struggling to predominate. Momentum and directed motion are additionally achieved by rhythmic activity and textural manipulations.

Recording of Frank Nuyts's "Chile" from Un pais arrellanado por los Andes. It is the first part of the larger work. The second piece is entitled "1973, algunos testimonios." "Chile" is a kind of descriptive characteristic prelude, evoking the country-side with its Cordillera of the Andes but also with its sad and immense plains. The piece was realized in 1980 in the studio of the Institute for Systematic Musicology (IPEM) using Synthi 100.

Recording of Ton de Leeuw's Chronos. The piece is a journey through time, bringing together elements from the depths of the ages (some archaic, folkloric or quasi-folkloric formulas) and other material, that of our time: subjects and report that have always made people passionate.

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.

A recording of Francisco Estevez's Contra-Contra.

Recording of Rob Kruit's An Electronic Symphony Everyone and Nobody.

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

Recording of Jonty Harrison's Eq for live saxophone and tape. It is the third in a series of works that features saxophones. This piece like the others, is also concerned with 'cu' (here made manifest by the interaction of live saxophone and recorded sounds on tape), 'Q' (a filter is used to sweet the producing melodic material out of static harmony) and spatial articulation. 'EQ' is studio slang for 'equalization - a more sophisticated version of the treble and bass controls on a domestic hi-fi system and a fundamental device for sound modification in the studio. EQ was commissioned by John Harle with funds made available by the arts Council of Great Britain. It received it's first performance in the Purcell Room, London in November 1980. The tape was produced in the Electronic Music Studios of the University of New York and the City University, London.

Recording of Jean Charles François's Err / and branching. This is the first of two pieces for tape made from sound material worked on at IRCAM during my stay in Paris, using Music 10. The final production was made at the Center for Music Experiment in November 1980. The 2 nd piece is in progress. The digital sounds produced at IRCAM are part of a large repertoire of tapes used in the context of the KIVA group's instrumental improvisation through amplified acoustic instruments.

Recording of Ricardo Mandolini's Estallido Breve. The piece tries to develop in a progressive yet minimalistic way the repetition of a percussion sound, of which the tiniest variations are in the first few milliseconds of the attack. This attack always follows a long extinction, which is also affected by minute changes. The addition of a second kind of sound material, a perpetual crescendo/accelerando, contributes to the accentuation of the dramatic character of this ostinato. The ostinato ends in an explosive short resolution, which explains the title chosen for this piece. The piece was composed in 1980 at the Institute for Systematic Musicology in Ghent, Belgium. It is stereophonic. The piece also existed as a mixed version (Estallido Breve II) for electroacoustic tape and bass clarinet.

Recording of Þorsteinn Hauksson's Études 1 et 2.The two etudes are the first works based on research carried out at the Institute for Research and Coordination in Acoustics/Music in Paris for more than a year on the techniques of organization of harmonics in composition. The goal was to find a coherence of composition between micro structure (harmonic structure) and macro structure. The pieces are the first text of using computer programs as a result of the study.

Recording of Ricardo Mandolini's "Fabulas, II Parte" ("Fables, second part"). The sound material is made up of both concrete and electronic sounds, often processed. There are two distinct sections to the piece, marked by differences in tempo, rhythmic character, and differences of size. This work is the continuation of the "Fabulas" piece, composed at the IPEM studio in 1979. It was composed and realized at the studio of the Technical University of Berlin in 1980 with technical collaboration by Folkmar Hein.

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 David Kenneth Mason's Freispiel.

Recording of Frank Nuyts's From Ipem with Love for tape. The piece consists of three movements: the first movement acts as a game between articulated/static sound and silence; the second movement, a transition, uses silences that are evoked by sounding layers of sound; the third movement is an evocation of a carillon, in which silence and noise dominate more and more. It was realized in 1980 at the Institute for Psychoacoustics and Electronic Music studio using Synthi 100.

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.

Recording of Serge Perron's Fusion. This piece was composed while Perron was studying electronic music with Alcides Lanza and Mariano Etkin at McGill University's electronic music studio. The tape part was entirely derived from ten piano sounds which were modified in various ways using "classical" electronic music studio techniques: loops, speed variation, equalization, playing backwards, and editing. The piano part calls for a new kind of virtuosity - that of staying tightly synchronized with the tape, which does not have any fixed tempo. At times, controlled improvisation is asked of the interpreter, in which he or she determines during the performance the order of occurrence of certain chordal elements.

Recording of Paul Wieneke's A Garden for Orpheus. This piece is a study in musical applications of the critical band phenomenon, which is a means of evaluating acoustic dissonance between tones. Its use in this composition effects both harmonic and melodic considerations. Rhythm is largely defined by either simple "Fibonacci" relationships or complex patterns arising from several voices pulsing at various rates. The title is from a painting by Paul Klee much admired by the composer.

Recording of Pekka Sirén's "The genesis of Kazan" for voice and tape. The composition is based on the Finnish text of an old poem of the Mordovian people. It is a mythological folk tale from that culture. After encountering the tapestry collection of A. O. Heikel which portrayed the Cheremis and Mordove peoples, Sirén was inspired to think of a new musical notation and to set one of these tapestries to music. He chose the poem "The Founding of Kazan" from the "Heimokanne" collection published in 1930 and translated by Otto Manninen as the basis of the composition. Sirén's goal was to depict not only the cultural history but also to research the dramatic expression of the actor. who plays four characters: the narrator, Marja, the father, and the mother. The differentiation of these characters is in the form of sound material that is subject to many stages of modifications. The piece was realized and recorded at the Experimental Studio of Helsinki Radio.

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 Alejandro Vinao's Go. The text used in "Go" was written by Ian Cross. It consists of 10 phonemes that as a set may form interrelationships analogous to those implicit in the 10 chords of chorale on which the piece based. The most prominent phoneme is the one, which gives the tittle to the piece, and the idea of the piece is to convey the concept of action as an absolute phenomenon in itself, without subject or object.

Recording of Bernard Gagnon's "Gwendolyne descendue !" for tape. Gwendolyne is an underground comic character from the 1940s. Read first glance, her adventures only seem to be excuses for exploring the possibilities of bondage, but the unity of style pervading even the smallest symbols and the obstinate repetition within the strict limits of a closed world gives them an esoteric aspect that inspired the piece. It tells the story of the forced disappearance of the heroine. The piece is dedicated the Gwendolyn's creator, John Willie.

Recording of David Keane's Harmonion. The system employed was a hybrid system comprised of a large modular Buchla synthesizer and an Arp 2500 under the control of a PDP 11-03 micro-processor. The latter was used almost exclusively for precise control information for the amplitude of analog filters (octave, low-pass and band-pass) which processed information derived from 12 to 18 oscillators which were themselves under both manual and analog-program control. "Harmonion" (loosely "that which has been produced by a joining together of separate parts) employs two basic raw material, 1) the triad built of 18 oscillator voices each under manual waveform modification and (2) a thick montage of wide-range random or pseudo-random events with each voice under manual waveform and control. The composers ability to carefully control each of the up to 18 independent voices while the resultant sound mass is treated as a single unit by the computer controlled filters gives rise to the title. The bases of the structures of the piece are several "Themes" comprised of amplitude patterns and a 3-minute long, 10-voice, amplitude canon which appears twice; once with each of the basic raw materials. Harmonion was realized in the summer of 1980 at the Electronic Music Studio of the University of Pittsburgh. The project was supported by the National Endownment for the Arts in co-operation with the University of Pittsburgh.

Recording of Robin Julian Heifetz's The harvest of sorrow and loneliness. This work is elegiac in character and is best summed up in the following poetic passage from Thoms Wolfe's "From Death to Morning": "There has been... loneliness enough... to crust (my) lips with its hard and acrid texte of desolation... (For I had) heard the... music... crying and singing a strange and bitter prophecy of love and death... (and I had seen) my brother... die in the dark in the dark mid-watches of the night, and I (had) know... the figure of... Death when he had come..." The piece was realized during a period of the composer's depression and proved to be a cathartic experience for him.

Recording of Kevin Jones's Ice breaker. Jones had just traveled from Helsinki to Stockholm by boat across the frozen Baltic Sea, which had been made more difficult due to a strike of icebreaker crews. During the crossing, the magical and mysterious sight of distant plains of ice reflecting the ship's searchlights contrasted strongly with the occasional violent thrusts of the bows ramming into thickly packed ice. The "ice breaker" concept also extends into the interpretation of breaking ice in social relationships. The piece builds up into a succession of waves or thrusts, which eventually break through into a teasing catharsis. A doubtful release unravels in an extended coda. It was realized at the studios of EMS (Electronic Music Studios) in Stockholm, Sweden in March 1980 on a PDP15 computer employed to control a bank of oscillators.

Recording of Joaquín Orellana's "Imagones d'une histoire en redondo (imposible a la equis)" for tape.

Recording of Joaquin Orellana Mejia's "Impossible a la x" ("Impossible to the X"). The piece raises the sonorous vision of a spiritual and violent situation, in which the primitive flows and their purity as a mimetic being and the "being children: are involved in clearly antithetical situations.

Recording of John Melby's In tenebris. This work is for piano and computer-synthesized tape. The title means "In darkness", and is taken from a poem by Thomas Hardy.

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.

Recording of Nicole Lachartre's Le Jardin du Village des Sables Blancs.

Recording of Nicole Lachartre's Le jardin du village des sables blancs. This is a work for electronics that was inspired by the garden, Hakousasondo, in Kyoto.

Choreographic fresco by J. Ludécher. Ballet in 10 paintings The work presented is n ° 9. And is the illustration of a painting by J. Bosch introduction: sound materials presenting the characters: - the mouse - the bird - Fish - the chicken monkey - the giraffe-swan - the flower woman Characters of a nightmare universe Organic assaults made of fire and darkness Flow of passions and fantasies. This work was created step by step, simultaneously with the choreography. The decor, the masks of the dancers were involved in the general inspiration of the work.

Recording of Ricardo Mandolini's "Juego de Marionetas" ("Puppet play"). The piece is a descriptive approach to the world of small percussion using recorded percussion sounds that have been electronically processed. The fundamental characteristic of the piece is the rigorous eceomy of means. It was composed in 1980 at the Studio of Musikhochschule in Cologne.

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