Recording of David Porter's Walking Bells for tape. The piece is a tour through an environmental/concrete landscape. It is another variation on the "cumulative form." This is the second in a series of four tape pieces. As with all these pieces, this piece comments on political and compositional methods and devices. In this instance, the piece makes reference to another composer whose style is borrowed. Other than that, it is pure experience. This piece should be listened to with speakers placed well apart and volume up the the highest comfortable level at the last two minutes of the piece.
Recording of Fernando Condon-Garcia's Suiana Wanka for tape. This work collects and develops independently the materials of a music scene for Peter Shafer work "The Royal Hunt of the Sun". It is based exclusively on sound recordings of various Latin American instruments such as the Indian flute, pincuyos, sicus, tarkas, mohecenos, various kinds of percussion, etc., to which are added, during some passages, instruments from European culture (organ, flute, bass). The original sound was made in a professional studio, and the final realization was made in ELAC, a small Montevideo studio, with the technical assistance of Carlos Da Silveira.
Recording of Frank Royon Le Mée's "Troisième doxologie Saint Sébastien" ("Third Doxology Saint Sebastian"). The piece is an electronic postlude in three stanzas.
Recording of Martin Sierek's Quadratwellenklangwurst. The piece is based on micro-intervals through the use of square-wave oscillations. These exact intervals were only achievable with a digital rectangle generator. In the composition, the higher pitched parts of the two harmonies are fed to the cohesive basic tones and a whole sound becomes a glittering sound spectacle. The intervals and the number of individual rectangles constantly increase during the composition and generate acoustic phenomena and end in a cluster. The only "ordinary" intervals, a big second after and then a minor third, are just decoration.
Recording of Stephen Montague's Scythia for electronic tape. Scythia was a region of Central Eurasia in classical antiquity encompassing parts of Eastern Europe east of the Vistula River and Central Asia, with the eastern edges of the region vaguely defined by the Greeks. It was thought of as the great land of education. It was also the place where Prometheus gave fire to man and where he was confined to be tortured by the gods for this. Every day an eagle came and tore out his liver and every day he endured.
Recording of Will Eisma's "Le grand silence d'un seul oiseau" ("The great silence of a single bird") for tape. During World War II, a network of 40,000 km of trenches crossed South Flanders and the North of France. Still today, there remains part of these trenches as a long underground tunnel somewhere around Metz and Verdun. The composition represents an imaginary underground journey from Calais to the Swiss border, through the infernal moles, in the gloomy and frightening obscurity of this absurd war. The poem of Ab Van Eyk tells of these horrors: "Someone walks forward, slowly spitting out his lungs, while a bird pass near me, the gas ......... The night shows fiery angels, among the lights of the "no man's land "; until the twilight silence arrives, the great silence of a only bird, just before sunrise raspberry color." The piece was composed and realized in the studio Five Roses in April 1981.
Recording of Klaus Röder's kristallisation I. The material of this piece are tape recordings of triads played with the guitar. 26 tape loops contented 4 triads each on 4 different channels. The pitches were chosen such as to build a cluster with the extent of one octave by simultaneous reproduction of all 4 channels of one loop. The loops differed in pitch and were arranged in chromatic order so that the 'lowest' loop extended from E1 to Dis1 and the 'highest' one from E1 to Dis2. Then from the tape loops special parts were copied to another tape in a fixed order. By taking either the front or the back part of a tape loop variations in tone color and volume could be made ( loud, clear, hard-swinging: font of the loop; silent, dark, smooth-swinging: back of the loop). The copied parts were cut into pieces according to their duration of tone and then they were put together again. Sequence, color and duration of the tones were provided by the score. Tone color and duration change from tone to tone so that there is a fluctuating impression.The whole tape consists of several thousands of cut pieces that were stuck together. There is a crystallization of structures which results from the repetition (forwards and backwards) of special parts by which they are made clear.
Recording of Joe Davidow's "Music for two flutes and tape." All of the sound material for the tape was originally played on the flute. The studio processing has has the aim of enhancing the inner harmonics and enriching the more obscure instrument sounds, bringing them to the forefront in inter-structural relation to the two live flutes. Breath, which is the original source of all the sound in the work, is itself an intricate part of the sound color relationship, together forming a structure of interweaving live and processed flutes, counter posing the real and surreal.
Recording of David Rosenboom's "Nazca liftoff et Time Arroyo." David Rosenboom: Nazca Liftoff and Time Arroyo. Nazca Liftoff and Time Arroyo are two sections of a series of seven pieces composed for the album, "Voyage Futur." These are two examples of what the author calls "high performance." These pieces are completely based on algorithms. Direct actions to the computer have the effect of directing the algorithm process to crucial branches and selecting sets of musical materials and / or relationships with what the program performs. All sounds are created by the author with "Key" controlled by computer with digital sound generation and "Patch-IV".
Recording of Rodolfo Caesar's Tremola impressao. This piece is a mix of disparate languages: instrumental music, sounds of nature and electroacoustic music, resulting in a different kind of electroacoustic music. The material originates from earlier works, not always Caesar's, but manipulated to make it different. He tried to make useful the sounds that were condemned trash; without any comparison with "Fontana Mix" by John Cage
Recording of Bertand Dubedout's "Aux lampions" ("To the lanterns"). Lampions are small oil lamps, formerly popular as a carriage light. It is a concrete piece in three movements: "Bal convexe" ("Convex ball"), "Le cocher" ("The coachman"), and "Sous les planches" ("Under the boards"). For writers like Bulgakov, Gogol, and Chekhov, the ball scene is often a story of action, tragedy, or desperation; the ball can ruin an existence or bring hope. Delight, delusion, and loneliness are the multiple stigmata of the ball. The sound materials of the piece are all concrete sounds that are based on reality. The sound forms escape any precedence, combining to create images of incongruous weddings like in an agitated dream.
Recording of Elżbieta Sikora's La Tête d'Orphée II. the piece is based on the story of Orpheus returning from hell to find Euridice. Commissioned by the Experimental Studio at the Polish Radio in Warsaw in 1981 and was composed in the same studio with the technical collaboration of Barbara Okon-Makowska. It was premiered during the "Warsaw Autumn" festival in September 1981.
Recording of Jacqueline Ozanne's "Son recif" for voice and tape. This piece comes from a work on the myth of the sirens and includes texts written on this theme in their original languages. As the singer/speaker repeats the story, it is crossed by the sounds of these languages, by songs that cannot continue, as well as successive states of emotion. The electroacoustic tape plays a constant dramatic role: sometimes worrisome, sometimes reassuring, sometimes enveloping presences, it continually influences the interpreter in their vocal and dramatic production. The performance includes a video projection.
Recording of Roberto Doati's "Una pulce da sabbia" ("A Sand Flea") for tape. This work utilizes a timbre space built on three dimensions: spectral energy distribution, spectral fluctuation, and high frequency energy which precedes the full attack of the tone. The sound synthesis models used are simple waveshaping and FM. The overall structure of the composition is generated by the projection on a two-dimensional space with frequency as the ordinate and time as the abscisa, of an architectural structure plan. Doati achieved the desired temporal extension by means of the ‘slowing perspective’ technique. As regards the choice and the treatment of the macrostructure and its internal organization, they depend exclusively on the compositional parameters: symmetry, regularity, direction, velocity, focus and flight point (terms borrowed from the visual arts world). The internal temporal organization of the polyphonic rhythmic structures that make up the macrostructure is given by the position of the focus. This one is determined too by the parameters above mentioned. Each structure takes the timbre that occupies the corresponding position in the timbre space. It was realized at the facilities of the Centro di Sonologia Computazionale at the University of Padova.
Recording of Robert Rowe's "Spattering... A Shower." This piece of computer music focuses on the organization of sound and the process of adopting the medium of a digital computer to produce music compositions.
Recording of Bernard Gagnon's Dictée for tape. The majority of the material was executed in real time. The instruments used are voice, a pencil, and also a few oscillator sounds. An oscillator provided a wave that was delayed by tape, and then turned into a voltage to modulate the early sound: a self-modulating delay loop. The piece is a reflection on the anxiety of first learning to write as well as on the degrees of the distances of the writing. The dictation comes from a loudspeaker, while the writer's reactions and his perception of the loudspeaker are captured on the other channel using a microphone. We hear in succession and by degrees of writing: 1. The dictation only. 2. The presence of someone who listens. This presence is signaled by a microphone feedback on the other channel and then a cough. It is good here to specify that the feedback effects are voluntary and controlled. 3. The message changes channel because it becomes the pencil noise of the writer. 4. The transformations that the message undergoes as well as the act of writing of the character who, one realizes, dictates himself. 5. Echoes of his reactions, a kind of subjective consciousness. The subject is played with pencil. 6. Transformations of its same reactions. 7. A kind of connivance gun between dictator and dictation. 8. Bursting of personality.
Recording of Hildegard Westerkamp's A Walk through the City performed by Norbert Ruebsaat, speaker. The piece is for two electroacoustic sound tracks. The poetry was written by Norbert Ruebsaat. the piece is an urban environmental composition based on Ruebsaat's poem. It takes the listener into a specific urban location - Vancouver B.C.'s Skid Row area - with its sounds and languages. Traffic, carhorns, breaks, sirens, aircraft, construction, pinball machines, the throb of trains, human voices, and poetry are its "musical instruments." These sounds are used partly as they occur in reality and partly as sound objects altered in the studio. A continuous flux is created between the real and imaginary soundscapes, between recognizable and transformed places, between reality and composition. The poem is spoken by the author and appears throughout the piece, symbolizing the human presence in the urban soundscape. Its voice interacts with, comments on, dramatizes, struggles with the sounds and other voices it encounters in the piece. "A Walk Through the City" was composed at the Sonic Research Studio at Simon Fraser University and, in its final stage, at the CBC studios in Vancouver, with the technical assistance of Gary Heald. Many of the sounds were taken from the World Soundscape Project's environmental tape collection at Simon Fraser University in Vancouver, including two of the street oldtimers, recorded by Howard Broomfield. Some were recorded by Westerkamp herself. The piece was commissioned by and first broadcast on CBC Radio's "Two New Hours."
Recording of Xavier Garcia's "Pourquoi t'as jeté ta pantoufle?" ("Why did you throw your slipper?"). Garcia asks the listener to do two things when listening to the piece: to pervert your listening and to find drama where there is none. To is done through both concrete listening (identifying the surrounding sound world, hearing external noise and understanding the "clues" -- this sound is read as the index of a causality.) and abstract "reduced" listening (listening to the thing for itself, detached from its causal context -- a sounds characteristics, height, dynamics, articulations). Therefore, in the piece there is always a constant misunderstanding between listening to the counterpoint of different "ways" and listening to a casual reference anecdote. In addition, the ambiguity lies in the fact that the sound data that constitutes the anecdotal reference is also one of the melodic paths of counterpoint. The piece was realized in the G.R.M. studios in February and March 1981.
Recording of Ivan Patachich's Ludi Spaziali for piano and tape performed by Erzsébet Tusa (piano) and sound engineered by Peter Winkler at the studio of the Hungarian Radio. The purpose of the piece was to widen the sound and technical possibilities of the piano through means of electro-acoustics by modulations of piano sounds and by synthetic sounds and spatial movements.
Recording of Gabriel Poulard's Blueberry for tape. The title refers to the name of a cartoon character. The piece was realized at Groupe de Musique Expérimentale de Bourges (GMEB).
Recording of Arthur Kreiger's "Variations on a theme by Davidovsky" for tape. It uses the first 10 measures of Nario Davidovsky's "Synchronisms no. 6 for piano and electronic sounds" (1970) as a thematic subject. The theme appears orchestrated for tape alone approximately 45 seconds into the composition. It is preceded by a short introduction and is followed by a series of variations. These variations differ widely and explore an extensive palette of electronic sounds. The present version is a two-track reduction of a four-track original.
Recording of Clifford Taylor's "Blendings" performed by Clifford Taylor, clarinet. The piece focuses primarily on combining various registral sounds of the clarinet with synthesized sounds of a variety of timbres.
Recording of Daniel Arfib's "L'imminence de la lumière" ("The imminence of light"). It is one of the several pieces of computer music Arfib created as a researcher and composer.
Recording of Frank Corcoran's "Balthasar's Traum" performed at the Electronic Studio of the Berlin Technical University in close cooperation with Folkmar Hein. The work is based on an idea of a short story by Jorge Luis Borge and the Gospel of St. Mark about Balthasar Espinosa, a man who becomes involved with the Gutres people of Pampa and eventually dies by being hanged on a cross by the same people with whom he was so fascinated. It takes place in the great plains of the Pampa where Baltasar Espinosa is invited to his friend's ranch. To escape the monotony of continuous rain, he begins every night to read aloud to the fascinated Gutres people. They ask for him to reread the Gospel of St. Mark. Mysterious things begin happening during the dark days -- Baltasar cures an animal through 20th century means, something the Gutres have never seen before. The rain eventually stops. That night a virgin Gutre girl visits Baltasar's bed. The next day, he reads the Gospel to the Gutres for the last time. They then ask Baltasar, who is not a believer, if even those who crucified the Savior can receive salvation. They ask for his blessing, then they violently push him into a corner where they beat him and spit on him. Baltasar then sees the cross that has been prepared for him. The work is described not as a program work, but rather a sound correlation of scenes from history.
Recording of Ulrich Suesse's Oboe. There are basically two considerations for the application of tape 2 :1) It can be a source of inspiration during the performance and/or 2) It can be a source for "overloading" the piece, bringing it near the breaking point. Its actual application (or non application) depends on the intention of the performer. An existing version of tape 2 can be used or a new, unique, completely unknown version can be created: a copy of tape 1 is to be used as the source material; it should be spliced apart, rearranged and mixed "BLINDY", yet with respect to the following 6 categories: a) SOUNDLAYERS are superimposed pieces of pieces of tape (dubbing); b) STINGS are anything with crescendo (to be realized at the performance through volume control); c) HIGH NOISES are pieces of tape at doubled, tripled playback speed with or without hiss; d) POINTILLISM is interjecting anything in short attacks (for instance through starting and stopping the tape); e) WAVES are done through various glissando-like speed manipulations; f) LOW NOISES are pieces of tape at lower playback speed with or without reverberation.
Recording of Miloš Petrović's Aw/wW ("Anton with-without Webern") for tape, interpreted by Ruža Petrović, Paul Pignon, and Miloš Petrović. Petrović uses the sound and structure in Anton Webern's works as a way of broadening the sound media in his own work. He places this work in a space defined by primal elements of different media, which allows for a greater number of operations on the speech-gesture relationship, while contributing to the cohesiveness of the result. Magnetic tape-transfected parts of Webern's composition, purely electroacoustic segments and short quotes from the composer's work. The tape was made in the electronic studio pf Belgrade Radio-Television. The work was written and presented first in 1981.
Recording of Bogusław Schäffer's Maa'ts for tape (4-lane). The composition if a collage for voices and electronics. The choir sings in harmonically exact microcompositions.The piece was produced in February 1981 in the studio of the Technical University Berlin.
Recording of Zoltán Pongrácz's Madrigal for tape. The aim of the composer was to create a madrigal, one of the most aristocratic of the choral genres of the Renaissance, through electronic means. He uses the characteristics of the Italian madrigal as an element of the musical color to create effects of the Gothic choral music. The raw material is based only on the recitation of the sonnet, as well as on sounds sung at various frequencies by the choir. Pongrácz also calls this work a concerto, but not in the traditional understanding of the genre, particularly in the case of the conception and the formal structure; he calls it such because of the contrast between the cymbalum and the spectra of the oscillators. Madrigal was realized at the Studio for Electronic Music of the Hungarian Radio in Budapest.
Recording of Peter Plompen's "The difference between a bird" for tape. The piece consists of three parts. The first part was created with a electronic music system. The second part is made with a piano and two microphones. The third part is made with an electronic music system, a piano and a microphone.
Recording of Thierry Lancino's Static arches. The inspiration for this piece dates back to June 1980 when Lancino first crossed the desert in Utah, particularly the Arches National Monument which is an infinite space of massive stone arches carved over time. Apart form the visual connotation, principles of intertwined independent arches is applied to the architecture of the piece itself, as well as tho the "filling" of the quadraphonic space, this helping the appearance of sonic sound holograms. The piece was entirely computer generated. The "Foonly" computer was in interface with a synthesizer-processor in real time called the Samson Box, a prototype which was designed and built by Peter Samson at System concepts in San Franscico. The method of synthesis is the frequency modulation of John Chowning. The compositional algorithms were developed thanks to Bill Schottstaedt's "Pla" program. Static arches was realized in the studios of Computer Center for Research in Music and Acoustics (CCRMA) at Stanford University, California, from November 1980 to March 1981.
Recording of Åke Parmerud's "Out of sight." Originally composed as part of a multimedia work (The Flood Glass), this version is the independent concert version. The main purpose of this piece is to explore the borders of sound-synthesis using only single-FM technique.
Recording of Stephen Perry's Voices from Purgatory. The work is an amalgam of a variety of treatments of the human voice. In particular, extensive use is made of layered montages of material generated by means of the voltage controlled filter. Stephen Perry is also a graduate of Queen's University in Electrical Engineering.
Program for a concert performed by the Exposé ensemble on Thursday, August 13th, 1981 at the North Texas State University Recital Hall. It includes a listing of the pieces performed with artists and musicians.
Program for a concert performed by the Exposé ensemble on Sunday, April 5th, 1981 at the North Texas State University Recital Hall. It includes a listing of the pieces performed with artists and musicians.
Recording of Pär Lindgren's Rummet. This piece is for electronics. The sounds are pre-recorded sound which have been manipulated and usually are present in communicative patterns. There is a constant sound happening in the background which acts like a drone and develops an eerie familiarity.
Recording of Michael Mac Nabb's Love in the Asylum. Love in the Asylum is a love song to the calculated insanity and spontaneous magic that one must sometimes call upon in order to live in this strange universe of ours. It features an orchestra of familiar instrumental and vocal sounds, new sounds drawn from the imagination, and---perhaps most expressively---sounds that fluidly shift between the two. The work is built of two psychological layers. Foremost is a layer of cheerful confidence and exuberance, colored and occasionally overpowered by a dark emotional undercurrent of anxiety and psychological imbalance. All sounds in Love in the Asylum were synthesized except for the laughter and the player calliope music. It includes a number of musical quotations, including quotations from other works of electroacoustic music. The spatial sound paths at the beginning of the first movement are from Turenas (1972) by John Chowning, who was a primary mentor, and influenced McNabb's decision to specialize in electroacoustic music and performance.
Recording of Denis Smalley's Vortex. "Vortex" centers primarily on the types of sound movements that suggest analogies and swirling images, sound objects, textures, and rapidly moving patches of sound, often around an axis. Such movements can evolve in a variety of directions: we can let them hover or play them. They may have a combined action or follow each other or be swallowed up by events of greater force. The sound events of various attacks, sizes and orchestrations give vocal points to the movement. They signal climates, initiate changes of direction or change of quality by evolving in their movement. Commissioned by Tim Souster with the help of the Art Council of Great Britain.
Recording of Nicolae Brînduș's Kitsch_N for clarinet, saxophones, Hungarian folk instruments, and tape. It is an instrumental theatre subscribed to the preoccupation of the author with controlling randomness in a musical action where the sound, attitude and stage gestures are structurally corroborated widening the domain of the performance. It is the second piece of a cycle named Vagues where the author develops similar stochastic principles of composition.
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