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~~tJ~Vl3 Aus~

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NOYOtMd~J

David ~

(CECG)Concordia

renseignements

482-0320 paste 614

mJ Vendome ' autobus 105

campus Loyola campusI'universite Concordia Unixersity7141 o. rue Sherbrooke',Sf. W.13h!1:00 pm .

salle/rqbrn 'AD-OSpavillion Administration bUilding19h30!7:30 pm .'

entree libre / free

20mai~-.-23 mai tele de Ia Reine

24 juin Sf-Jean Bapllste

25 juin26 juin

1 juillet jour dela conlederallan

2 juillet3 juillet

26 aoat27 aoOt28 aoOt

summer C;9ncerts 'd'efe aLoyola. '41,1t of dOOrs/en plein air

vendredisamedidimanche

vendredisamedidimanche

vendredisamedidimanche

(GEC)Groupe Electro­acoustiquede Electro-acousticConcordia::Composers' Group

~-:''-,~. '

LOYOLA CAMPUS7141 SHERBROOKE STREET WESTMONTREAL, QUEBEC H4B 1R6

~ -€f1.kr-l ~ lie (I ) (\ '114)

Fa.mill 4~ (n At{STrtJ ~

- fAV\SE ONf

I•~

\~f\)lN AUSTIN I DA\JE LIN1)S~

*'jAmES TALLON) 00t-tN WELL

~: ~f\))N ttuSTIN ~

G( rq-en-eYl r

( R)

"TWD----

starting place. A transformation

is experienced as the water drops

dimension. The sepse of time and

,""",~-""'..l-"'''''''''''V-'-J i..A. .......... ~ .. _ ....... "":1.-....A.-- ....... -,,-O ...... qJ J --- -- -- -- _ ..........-~ .. --- ':l.--.-----v

progresses with.the machine-like regularity of cex'taininvoluntary bodily activities, particularly breathing. Alaside of these human sounds there exists a second type ofsound structure--the electronic arid literally mechanicalsynthesized sounds. When the two types of sound structuresultimately collide, they subsume each other and are, it wseem, both eliminated. Yet all is not destroyed. From therubble emerges a new mechanical sound structure which breaa new vitality into the piece that powers it to its conclu

Eric Fergusson is a 23-year-old native of Vancouver 3Toronto. He is currently a third-year student at Queen'sUniversity in Kingston, Ontario, majoring in film and musiIn 1980 he began composing electro-acoustic music, and thlhas occupied his musical interest ever since. He hopes tocontinue his studies in music composition and experimentalfilm after the completion of his undergraduate degree.

PROGRAM NOTE

DIMENSIONS'-

This work was produced at the QUEEN'S UNIVERSITY ELEC r

MUSIC STUDIO. All the sound materials in Dimension I were p:

by a multimode resonator and several oscillators. The droppi:

, sound was introduced to create the effect of real time-space

from reali t.y ·to a fantasy ,

gradually gave way to that

direction diJolve into thi"

fantasy world: the struggle..to return to reality being hamp

by the incredable m'a'gnetisrt;;',-'Of this strange world.

"

January 3, 1983.

Generigues has been produced at the Utrecht 1nstiiSonologfe in 1973-740 The first performances have beerutre~ht and Bourges, ill.,'i.:L9;T4~

These pieces form,}i,\:'rf~miIyH connected by inc·lusicHe::: Z; c:::.1 c ~f.lhe pieces cahf"b,~e,,;;pe'rlfQrined independently, 01arbitrary order. . . ,., ;., ,,;.,,.h ,< '. .... .'.:,:,

,_ .-. -~;~ _.~' >,'U'" ,;.~,-';:.;~l:; ,:. '

Gener.ig:lle (I ). consists in} the reunion of~t'h.r~.:~*ig·~(;i,S.1-c SE

sound material, mainly diffe.:E~ntiat·ed by thefr,;\£J;~:,SL1:y~n.f~;:;"::~~~;;;:::;::;..;:.-::~':-::: _-.::,"-'~~'.::"':.:' -. ... .,'. +..:> :~ " -.'~;;'::-- _ --":;:'!:;:::t-: _. '..,.~, -- ....

,G&~c~"j;.:\,)ll,E;; ..(Z) is a sUb-set:',9~>ffi, .obtairl~q:::t '-";.'~~~~~~e.~'Qua~~selective treatnfents ofthaunuej;l-:" ,p:g:~'$:m:;;tt~t'"ia:L;$o ". . .. ~"'::,-~:

, ',,~,,;;, . "':~I<';/': ...••...•.. ',:' .' '.·';"i'h"~ <0:- '. . ...•...~

,~!¥:~~~~, (~~di:p~::~~e~e~i~~;i{i1{¥§~~f~~~~r~:~~~?f~.,j .q i:rcui t s 0 '~ti . :". " 'f:~)r.'i:.;i,'~t'~~~id;.I:~:;~:~

,,;, .~~rtque (I) is thus a sort of raw bloc:kofS0Ui~.t9~.,,:,,_.·':;"'~~"'·-7':,,=':"tJt:~~~-tITe"'''v'ti:reT--~trieC e S present ed, Gen'&rtgu:e·c·c:tz}'"'rra-'c~~r1"f'fj'€f:eri:~::;;;:

:tipi~'~k, ca~ved~ out of Generigue (I), and lR"} out of (2::)"thu;s hear different IIsoundscapes'" of the same flsoun~aspects of the same material, much in the same way as cfind important differences in the individual erceptior.of any concert audience.

FAMILY GAMES (I) is a piece for four channel tape. The family

to is a sonic one, and the sounds produced by

particular automated patch occassionally have a slightly humourous q~c

This is only one of any number of possible realizations of this piec~.

Composed at the Loyola A.V. Studio in April, 1983. Duration: 4min. OJ

K .J

WAIT is part of a series of w()rksin. progress that were starte~

1982. The plece. explores the na~ttl:re, pf a simple spoken ti

in a complex sound environment, as it moves from having verbal val,

towards more value as sound, and backto~~rds simple verbal value.

transformation is accomplished by the use\~f digital delay lines.\'

performers continue' the process of" transforIhationin real time.

CENTRIFUGE

Cette piece ~e deplace en t!ois champs lateraux.Une guitare

a anneaux,retro-action et echo slexeeute au troisieme plan se

~ I'autre.

...- .•Ah''''~ It,It

, Au deuxi;me plan,des oscillateurs disgracieux froissent les,sens a 60 second

Au premier plan slinstalle de l lintermodulation de haute frequences touchant ]

cerveau.De ee phenOIllene curieux dec'oule Ie nom. de 1a piece.

, A' noter que 11 entree et la sortie de 1a piece est annoneee par 1.1utilisation.~ .-,

·.;:d'e puissance suFlaguitare.L'attaque est coupe,1. Titesse est'ViI-lee •. ".. ~" .. ;,-.

'.' ;,

UNIVRRSITE CONCORDIAC.A.1>1PtB LOYOLA

JANVIER aJCAPAC

LA .. CASCADE ENCHANTEEPROGRAM NOTE

La Cascade Enchantee was commissioned by the Groupe de Musiquep~rimentalede Bourges (Gr,1EB) and vlClS reali zed in their electro-acou:music studio in Bourges, France in June-July, 1982.

The motif of the enchanted or magical waterfall is derived froJTennyson' s ~IThe Lotos-Eaters", a poem describing the bewi tching is1,haunting beauty which Ulysses and his men encounter on their returnTroy. Using the land of the Lotos as an imaginative context, the c,tion exploits the wonderful properties of a waterfall, both magicalordinary, which allows us to hear within the thunder and froth anywe seek there. Woven into the fabric~f naturalistic sounds of watL~ascade Enchantee are myriad delicate colours from the very speci;1[ered by the GMEB studio. The central material is a single phrasTennyson's poem, the illusive description of the falls as:

"Slow-dropping veils of thinnest lawn" ..

The sounds of the water and the sound of the speech are repeatedlydissolved, and transformed to create a grand tapestry of sound

... DAVID KEANE (CAPAC)

.. des voiles de ~~~~ transparente qui d~t lentement

(".-t~r~ /J{~ ~1

thisi~ the. fyst oJ tk $/,{II\Ill('h' s.e-ti~ ·of~.ett,;

hQ/;) .~.. s~ bgSic. ~L(<:-/wre e::v.> ...AJ1.~_t-~m ,·~ve )·thcx.f t5)~~ ktveo.

-rk fintfG(ft-+1-~~ ..~~ wilt ~-lQ hi3hli2

(\.Q,(,J ~O~) YnMUj1 .~ 5-1; If ~~f1. s~V~ r1 ~iyt5i;fu-h-(jYV)_

I ~ s -e- C<JYtrl fOJ'"l 1 .each C<M Cf2ftf Will ha IH:L 'v

~n ~. i.,t) Q.A\ck +k ~ ,J. r~ \AliT! be 0-

b<A3°-& fj~ <M\ol \~.

\\W:, f@~ ~. _the.: ~+ c0J;ve.~- QUJ.v.)f

~<: C-<:f'tnVVUM\A~ ~ +k ~~, \Jcvn<1'0 f~10S()

l' C-If'A.-c.edf f~1iO\ Meid sick b~ 5ik. Th.e"

\-~\SrC~c.~·: \~ p~ rrvJ.u,C1;(M Il~ 1

srcue ) \'V\-~ fevr-kCifa,.$;)~ b¥,-~.fensi~

o..J'reJrt-i si Vld )~ C7Y .~ twice. ~. .~cvr.

T~ ;", -t-k lM'Vi11'U>i-t:J ~O-o-.~5-h<:., sMo (

.) l V'-V\.o"\ .... \J--'W" ..... v-. /. V.' - .V (5 ~'. "fIT~' >J V'-'\ 1'-"'--'" J . - ..... v ..... 1--""'--

l~ ~CR/Y+ ~.~ o.-:tCo--A~~ ~ bCV'JeJ

~ b~c.. i&Mu: smoJl Scale.. pnnJ.4c.fi oov:> I smoJ

5 reo I <&.. v-Mi~u6f·.4~) small b41Jf(ffJ

+0 ~b .... nCA5Ylc.~ ~ J-1Zo.d) aAtJ oJpo ~alt'\()~d .;.J,..... ... ~ .r'rn'Y\~- ~HS~ . .. .. •

Anj ~~ wdto rs rtof "w-eJl~00Jl'1·(OAtJ.

5~o-J ~)l\Al\lt~acJ .•~. ~. ~ f"y~+ fVi dAfPuJA:} buJ .+k-~ V7 f't1A.J.., ~. J

~ ~....~....,~" o~ .+4 ~k I .

00'\& ~CA1. 5fjy(J.c:.~" (+ 0 ~~ to~ .1t> fl'lr\lik Ho~~,

-rhM A-eM.~ C6"Y\1; VUAtO tAJi Ma. V(5)\ avr4J ~J

M~ ~~oJ-1:JO/ r-ottunkJ t-~ we

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( ~ 3- \I - 20 )

F.erc

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Dave' L'VlJj~ Tct.jok~ W--E

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lJOMCl L)A~aA ~ Thi

?, ~'((~ 1Jos~

,Robi V\ ff\ \vcha.J-&> ek

renselgnements

482-0320 paste 614

~ Vendome + aulobus 105

campus Loyola campus. .."universite Concordia University7141 o. rue Sherbrooke St. W.}},13h/1:00 pm

entree libre I free

20 mai salle/room AD·OS23 mai IetedeIoRelne••__• pavillion Administration building

19h30/7:30 pm24 juin 51-Jean Baptiste

25 juin26juin

1 juillet Jour de 10 confederollon

2 juillet3 juillet

26 aoOt27 aoOt28 aoOt

vendredisamedidimanche

vendredisamedidimanche

vendredisamedidimanche

vendredilundi

CAMPUS LOYOLA7141 OUEST, RUE SHERBROOKEMONTREAL, QUEBEC H4B 1R6

summer concerts d'ete aLoyout of doors/en plein air

(GEe)Group~ Electro­acoustiquedeConcordia

-- PAUSE fa u(2.

fDD~ \10

b-QCo. .. bo.J\S~ ALAIN T~\~A-I

E~ P. A, £, pll: ~(ZE :DOS-rl

(ZO'blN fY\ , N"A

C \-\A~Lf5 DE ~

.1-11 L;UUIllJerpU.l.flG 1;0 "'(;'nese "textures, a numbero1'vocal ~.oti:na~

emerge. The restful nature of these vocal sounds contrastswith and emphasizes the insistent and often'starkly rhythmicharacter of the snapping sounds. As the piece moves to itEconclusion, a number of the'textures resolve into the rhytrmaterial with which the piece began, thus linking beginniri.@middle and end into a symmetrical whole.

Eric Fergusson is a 23-year-old native of Vancouver arToronto. He is currently a third-year student at Queen'sUniversity in Kingston, Ontario, majoring in film and mu.sicTn 1980 he began composing electro-acoustic music, and thi~

has occupied his musical interest ever since. He hopes tocontinue his studies in music composition and experimentalfilm after the completion of his undergraduate degree., '

DIMENSIONS '.

This work was produced at the QUEEN'S UNIVERSITY ELECT

MUSIC STUDIO. All the sound materials in Dimension I were pr

by a multimode resonator and several oscillators. The droppin

sound was introduced to create the effect of real time-spade

starting place. A transformation from reality to a fantasy w, ,

is experienced as the water drops gradually gave way to that

dimension. The sense of time and direction di~olvejnto this/7,

fantasy world:' the struggle to return to reality being hampe

ncredable magnetism of this strange world.

January 3, 1983.

FIN A L S PIN

A slice of real life.

WAIT TOO~ is the second of a series of works in progress that were s'

1982. The piece explores the nature of a simple spoken te:•

canplex sound environment, as it undergoes various electronic processes

main processing device is the digital delay line. The performers conti

process of transformation in real time.

A I N D R A I N SUI T E

'What is this thing called metaphor?'

- a video soundtrack to exaggerate ambiance

and highlight metaphor.

PUASE FOUR Those of us who were unable to fully grok Pau:

,1 (op ,c i ~) will have the opportunity to resist acknow1e<\',; ::t,~' :~.. ~:~ it ever existed',. Beware the white fluids in the bottles. Isomorphism 1

~~:~~~i,. you everywhere, Again 15 - 20 minutes, (or as long as it takes to solv'

.~!.~~~ insurmountable technical problems).

ue V~::'UI \.1;;;1 I\;,;. - .... - _ ... --_ •. - ---~

.no-iFe-fnvne~-- Le -pr-es; d-'ent-Ro-n-aT~-R-:a-g an-, aT·'~-c-~~-S:~~'i,·-endre un immense service a L unlvers en fa}s,.ant.,d.l?~:

t~ t~: ;~ ~~e h ~~:i ~~ :e~e~2~ r ~ ;~§~~e~~s ~:~~:~ ~~:qU i';:~~}'F.TechnopoLis; 2. You are loved;3.Emiss~on speci~L:;'·.

4.Message du president; .. 5.Bqrl~eu.r;.R,;,~~~~1~n; 6~ ...R~l\S0.;Reagap;en; 7-.Le. pLus'Deau"cad~a,L\1~'~;?Tr:W;;8.' Gener~J}"gn x9 • Mx; 10. Futu r' x • ..,~,- - ..

sique realise~ dans sa presque totaLite avec le synthe­; sell rI 0 rd; n a"t e u r SYNCLAVIE R II,' dan s Le sSt uS; 0 s 8 r u i t

.BLan~ etd~ l'Univers;t~ McGiLL.

Alain ThibauLt: C9mpositeur, etudiant en eLectroacous­tique a L'Un;versite de MontreaL.

Cette piece a etedu Groupe SONDEE. P. A. E.

de sources sonores con~ues

groupe Sonde. Nous avons realise une oeuvre de musique electroa.cous

qui ne comporte aucune manipulation sur bande magnetique (montage, vari:

de vitesse, etc .. ) mais qui tente plut6t de accreer l'esprit d'une musi,

jouee en direct.

L?- prise de son a ete effectuee au studio du groupe Sonde et Ie Iilixage,

studio, de musique electronique de l'universite McGill.

0Ilt participe a cette piece:

Pierre Dostie

Robin Minard

Charles De Mestral

in, Ginette Gingras ainsi que ledepa.rfemerit'

ite Concordia a Loyola.

~c OJ) -\-~

0\USiC OJ) iThi

~c OJ) '0\W;r\AY\j'

SOl,lncl WJ Lj h1

Sou-nJ (10 \)~

Ekctv-o-o.COlAsk ~s-us14~r'It » (I .-.n-...

SOUI\! ClJ) })O)'I,iC S~~

c:::J c:;::, c:::J

11\ ttsiL OJ) .u:f tMA1-l6Y\ 1f~\osof~

C~s0 lln J OJ) ~tvY\ YNM\1 -

~G-~f CMCms '1B-JUfIIf ~3!2.4!l5~h Jus~'1\ ~ ?> - \J - 1.5

CONCORDIAUNIVERSITY

w;~ wo~\.0 bj :

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(CECG)Concordia

Electro-acousticComposers' Group

out of doors/en plein air

renseignements

482-0320 paste 614

~ Vendome ' autobus 105

salle/room AD·OSrela dalO Raina pavillion Administration building

19h30/7:30 pm

SI-JeonBaplisla+-- campus Loyola campusI'universite Concordia Universily7141 o. rue Sherbrooke Sf. W.

lour dalO conleda,olion 13h/1 :00 pm

P; UNIVERSITE CONCORDIA'.f1: CONCORDIA UNIVERSITY

entree Iibre / free

vendredi 20 mallundi 23 mal

LOYOLA CAMPUS7141 SHERBROOKE STREET WESTMONTREAL, QUEBEC H4B 1R6

summer concerts d'etea Loyola

(GEC)Groupe Electro­acoustique deConcordia

- ......~vendredi 24 juinsamedi 25 julndimanche 26 juin

vendredi 1 Juilletsamedi 2 juilletdimanche 3 juillet

vendredi 26 aout. samedi 27 aoutdimanche 128 aout

D05Wa.

Rock i~ tk.e wo~y-

Di C. t .e.e.

Th.e Sn~Q~€

~ 51 \b 2248

- PA USE

Robert 5c~ Qrhe'f ~)

Jo~Y\ We.~ (i)

Be0'0-rJ GtQ3Yl OV\ (j)

DQ\J~ Lind50j ti)

So..-m £> 0 rSeAk (ii)

Ta.m.es Ta\loV\ (i)

J 0JVrI.t0 "\~ tiJ

ll) CA~i\C

lJi) P(to.

- PAuSE

1<A.~ T~ ) 'Dave ~iV\dS~~}o~V\ WdLo.) ~eviVl IiUShvt (~1I i)

TE7-T: \( eVi~ Aush"\I\

51~ -

sf~.QAV) J G~~l CffmJm OAt! PaJ.X)Q~~ L\!'t ~ i)( \}-eJ(Si iSfI. -

(\ I. \i)trUSi'V\

- t:IN -

•

t., •

DOSWA - - A Delicate Process (Decay/Organic/Ssplat/Waaarning/Aaaah)

This is an extended meditative piece in five movements. The

overall effect of this "music" is to draw the listener to thoughtlessness

and self-realization.

Only a handful of primarily acoustic sounds (mandolin note, '

pneumatic drill, acoustic saw, electric saw, 3 multi-oscillator tones)

'were recorded and processed in different ways in each movement (tape',~<

splicing, tape reversal, tape delays, ring modulation and frquency

shifting) • e,RS) ,

A Rock in the Water 2 1/2 mins. Janu~ry 1980*

A collage of impressions recorded on a visit to Newfoundland, thelead-in composed with tape-loops mainly from materMl edited out of,the lightly electronically treated child's song which follows. Thewind at the end was recorded in a metro station; back in the city?

* part one of a work in progress. (TW.)

THE SNEEZE December 1979 The Sneeze was inspired by a high-speed

photograph I once saw showing the explosive spray of saliva

caused by the involuntary action of a human sneeze. This piece is an

aural interpretation of this photogr~ph.

The opening statement provides the ground rules for the piece, and

invokes the surreal world of slowed_cl.o_WliinstantciIleous actions. such as

sneezes. The ensuing exploratory journey through this world reaches two

climactic peaks, the first being the greater of the two.

Instruments used were voice, piano, a Rev-ox ~ track tape recorder, and - ,>,.y~~'~

several human sneezes. (D.l.)

lIDict~e" est une sorte de perfonnance sur bande.La majorit~ du mat~riel a ~t~ ex~cut~e en temps ~el. Les instrumentsutilis~s sont la voix et un crayon. Jlai uti1;s~ auss; un peu de sonsd'osc;llateurs. Un oscil1ateur fourn;ssait une onde qui ~tait retard~e

par bande, puis transfo~e en voltage revenant moduler le son du d~but:

un boucle auto-modu1ante 3 retard.

"0;ct~e" est une r~f1exion sur l'an~o;sse des premiersapprentissages de ll~criture a;ns; que sur 1es deqr~s, les distancesde 11~cr;ture.

La dict~, vient dlun haut-parleur, a10rs que les r~act;ons

de ce1ui qui ~cr;t et sa perception du haut-parleur sont sa;s;es sur l'~u­

tre canal a l'aide dlun micro. On entend success;vement et par de~r~s

d'~cr;ture:"

1. La dict~e seulement.2. La presence de quelqu'un qui ~coute. Cette pr~sence est

signa1~e par un effet larsen de micro sur 1 I autre canal,puis une toux. 11 est bon ;c; de sp~c;f;er que 1es effetslarsen sont vo1ontaires et contro1~s.

3. Le message chanqe,de canal car i1 devient 1e bruit ducrayon de 11~crivain.

4. Les transfonnations que le messaQe subit ainsi que 1 l ac­tion d'~crire du personnaQe qu;, on slen rend comptp..se d'l cte 1ui -meme.

5. Des ~chos de ses r~act;ons. genre de conscience subjec­tive. Le sujet "joue" du crayon.

fl. ~5 trans~onnati60S de ses memes r~acti ons.7. Un genre de canon de connivence entre dictateur et dict~e

et fina1ement ••.8. Eclatement de' 1a personna1;t~.

(~.Gi. )

Walking down the

IN THE BEGINING,

THERE WAS ••. SIB 2248 .••

Vel vet shadows draped 0"<

Upon a door~

When i knock

Ice and superstition.0c?

~----

tvc?

Over rods of

Liquid steel eyes

Piercing my body

From behind black

Street, i feel

It opens. slighty.

Finding chainic?of~- ~'f\e

Uncertainty binding ~heir .\ . oClO0""'(.Eyes together within

..\O~': The CO\d nakrSef\f\~YOnd thesec~

Portals, i ask,

N0:t::

N0 +

:t:: + N

8 :t:: 00 :t:: U

U 0 8:t:: U +U :t:: U:r: :t:: :t::Z N r--. 00 -0 -0 uU :t::

N U U Z:t:: :t:: :t:: 0U Z Z U

N 0 0 N:t:: U U :t::

N N U+ :t:: :t:: Z

U U N0 Z Z :t::

N N :\l:t:: :t:: :t:: fN

f f f :t::

:t:: 88 :t:: :t:: U

8 8 :r:u ~

N U U -0:t:: :r: :t::u ·u U:t:: :r: N :0:::Z Z '0 Z0 0 ~ 0u u u U

N N :t:: N:t:: :t:: Z :0:::U U 0 UZ Z U Z

N N N N:0::: :0::: :0::: :0:::

U+ + z +

N..,.. C\I :t:: N~ 0 C\I 0

"What is the

SUSPICIOUS - a visit to my old high school -·an aura1.trip down

memory lane, taken in trepidation. Conctrete sounds,

voice and tape loops. (1978) (DF)

MA NITO. by JA MES TAL LON 1983.

"The great Manitous or high dieties..... could not be mvoked as the ultimate causesof all things. Apparently the Indians..... assumed that the phenomena of nature hadal ways existed some where, and...... m their aetiological myths merely described ho wthey had been brought mto their present relationship with man."

-Diamond Jenness (1932)

Manito is a tape composition based on synthesized sound, voice, and processing.There is provision for live accompaniment. The piece is in six sections, with text andvoice contributed by Joanne Reid and the composer. Produced with the generousassistance of composer/producer Kevm Austin at the Concordia University ElectronicMusic studio and studio Metamusique Quebec Son (Montreal).

MOLTEN VOICE The piece consists of a series of sound images

punctuated by excerpts taken from each section and

repeated. The sound sources, which include recorded natural and mechanical

sounds, simple and complex synthesized sounds, and white noise, the text, the

structure and the title all relate to the concept of a transitional process

that is both ruthlessly abrupt and incomprehensible except on a primitive

level of awareness. Created in the Concordia Electronic Music Studio in the

Winter of 1979-80. (JT)

BOG THE FROG SUITE A ritornello form. The introduction of

the main theme, the tune of a continuoubut highly textured nature, is followed by a quasi-soloistic section ...The sharply articulated sounds in the higher registers give way to thefull ensemble of section 3's ritornello. Section 4 is a polyphonicregion, contrasting the apparently random sounds of the lower voices

with the more continous sound of the flying sound. Ritornello. Anallusion (illusion) (Nay, or baahhh~: quotaion?) from Strauss· Don

Quixote where instruments imitate sheep. (What silliness.) Many try,}C;l,be soloists, some sing out of tune. (A rather amateur performance~:~fMr.

in some ways, sheepish.)Ritornello. The last episode was, of course~>5ii~;<~;. ',.~_1; ': If, ~:'~~)""

inspired by Steve Reich and or Philip Glass. A solid, and often ql,dt~}:~~;.f';::,,~- - ,~_'." -'~!'. " f,·y>:", ' '.

original performance in this section. (What.else,? -) Ritornello.·'~:·~

Our thanks to Andy the ranger - (a ranger?). Sounds synthesized in

Ma Nat's, own lab near Flamingo. Produced at MetaMusiQuebec Son - vi/83. (KA)

,.

fin.

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Moebius Strip (1981) - tape solo. The piece is designed to be played solo~

or to accompany a solo instrument, and it

has been performed, by the composer, as "Moebius Strip" for tape and piano.

The basis of the tape solo is pulsation, that is heard at constant

speed. accelerating speed, or decelerating speed. The sounds themselves

resemble those of non-pitched, wood, percussion instruments. They were,

however, created with the Moog Synthesizer, at the McGill Electronic Music

Centre.

The pulsation streams are most often heard, at least two at a time,

so that any two (or more) pulsation streams are heard as a single complexrhythm, which is subject to change, depending on whether the single pulsation

streams are accelerating, decelerating, appearing or disappearing.

The name "Moebius Strip" has significance for the tape and soloinstrument version of the piece, and has little significance for the tape

solo version. (H.K.)

PAUSE FIVE A work of metaphysical values. No more quest for

East, grocery; west greasi~s and groceries. Travel l~ghtly.

fruth / beauty just fluids. Stores in both di

soundscape. Use the hibachis. Enjoy.

WAIT is part of a series of works in progress that were started in

1982. The piece explores the nature of a simple spoken text,

in a complex sound environment, as it moves from having verbal value,

towards more value as sound, and back towards simple verbal value. This

transformation is accomplished by the use of digital delay lines. The

performers continue the process of transformation in real time. (KA). -,.

THREE, FOR PLAY is a collide-ascopic work for strings, with optional

keyboard(s), with tape delay. The interpretation of

the score, while free in some senses, demands attention to sonic detail, past;;;>:.i;",.

and present, and ipso facto, future. Structurally, a cross betw'een the' momeht.f';;,·

form type, so beloved by Stockhausen, and the 'in a moment' type, so loved by

the procrastinator. (K.A.)

versions of this work. Certain compositional constraints warn against

burned fingers in this piece.

PAUSE SIX In many aspects, except for its temporal placement in

the cosmic order, similar, though different to previous

Repeat as necessary.

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The Thrill of Rejection DO'you eyer have one of those days? You

know, you confuse Haydn's ~2nd and 43rd

Symphonies; you misplace the number of your Swi~s bank account; you have to

drive the other TR-5; you know, some things never seem "to go right. This

piece has no siblings, and its parents desterted it upon first sight. Only

the kind and gentle word of a caring deaf friend saved it from the igno~~tyof the near-by bulk eraser. (K.A.)

(r. D, )

Asthenosphere (1981). Solo tape composition. Asthenos~heie is a region ofthe earth's interior characterized by less rigid rock which has an ability to flow.The asthenosphere is often responsible for vertical motions observed at theearth's surface such as volcanoes and seismic waves. The composition's cantin--uous flowing sound which rises and falls in activity is .suggestive of the title.

_ Asthenosphere was composed using the sounds of an electric guitar andmetal wheel rims. These sounds were isolated and manipulated using classicalstudio technique. The orignial performance of the sounds became increasinglyless important as the sounds were processed and then reassembled into a newcomposite whole •

Asthenosphere represents ap attempt to create an entire sound ~orld froma minimal number of sound sources. In order to create variety, maximum manip­-ulation of the sounds is often emphasized. However the inherent Acoustic propertiesof the sound sources wh,:,ch cannot be completely masked or destroyed by manipulationgives t~e composition its continuity. In other words, the composition is held'together by timbre relations~ips established between the. sound sources and theirpermutations. Each section of the composition explores different combinations ofof these permutations. Each new sound that appears is separate and" distinctand yet intimately ti~d to previous sounds and the overall structure •

. Asthenosphere was a semi-finalist in the CBC Young Composers Contest 1981.Asthenosphere has been broadcast on the CBC program'''Two New Rours" and hasbeen performed at the Bourges International Festival of Electro-acoustic Music,Bourges France.

SUN Started in August 1982, this is one layer of a much

larger work of the general title Sea Scape. "Sun" was

composed using tw~lve descending oscillators, multiply recorded, producing.at times, the density of 192 oscillators. The single gesture is very

" S. E. Scape

simple, descent. The work has a duration of a little over forty minutes.

The slides were taken while on various trips. Through the copying process,

five or six 'families' of images were produced. A range of filtering

techniques were explored, and at times the dividing line between the real,

the imaginary, and the abstract is obscured. For seagull with love.

Thanks to A.V.D. Loyola for facilities, sound and sight. (~A )

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'siteud?i;'.fr'ansforniiitiotCdes· mat!riaux en uttl isant Ie filtrage, les'''ctiange~nf;''de'vitesse, un ITOdulateur II anneaux, la r!verbl!ratioll, .la· ...: converslan:'il"-ac:ult! en va I tage, Ia superpos i t ion des couches sonores·,<;'-- .: ..," ~gaJjsatitir:ret ledl!phasage (ITOno); 3) une c:orrbinaison quadraphbnjque''':';/,. desqnStransform!sprl!enregistr!s et d'un syst~ de d!lai dleri~e9'l:!;',,:' ...

,~:,o:~~-K:,;t_~~n.t_d~-quatre pistes A vttesse variable pour f~~;~X~ ..un champ a·rtt~.lc'l~J-'''~~.,;JJ.!?,.,cf~;.sons arrbiants qui enveloppent l'auditeur< ....;";,..;,

':H~--'-;_~~"~;:' " ,_:"_.' ,.' :":,' ,', __ . ::':":';, .,l".--.• '-~.',:.>t--'-',' - .L";! .:r~s'se.lanc:e entre les !chos du san:e't les vagues de. J i'eau. a condui t1~"compa5H~r II intltuler I 'oeuvre ''buayancy... '$t'····· :" " ,,- ,.', '4,.:::_

(Short is less than two minutes! (KA))

is a short three movement piece that is to be "visuali

as well as listened to. It describes how after a musica

rst movement)~ the subject receives a disturbing phone call

l~E~Qqlngmov~nerlt)~ which leads him in a search for another type of

movement)~ which he finds once he opens a second door.

sound source was from synthesizer. Mixing of the first movement was

done with 8 track multi-track with reverb and delay as processors. The

second and third movements were done on half track alone.

Rigeaud Sinfonietta This work is a distillation into a two channelstereo field. of twenty-one channels of temporall..>1-

>\. .' and frequency related material. The inspiratjoo,:'for~b~~;~prk was the Bavarian cali ope at Expo 67 which played, witlfwheezesandinl.i~s-ing notes, while the cQmposer studied for his Abnormal Psyc)h,blogycoyrsei_',~!l(i played tuba in the Bavarlan Band inside the Beer Garden ..~··,,:Som~li~teners.have claimed to hear the influence of the Bavarian'Sand inthisrs"hQrt piece, some the influence of the caliope. Others blame it onthe abi{pr;.wg.l psychology, and there are those who put it down to the beer.Composed,h the studio of MetaMusiQuebec with a Synthi AKS. (KA)

JIMS GEMS The resol utionofstrOng'?'~~,P,~?g,~,~]jf~~~~~¥~~<'trt>this pi ece ";~~?"the relatively restful pace 'ar'e /ef'i~cti'~:e' 'of the fact that:tt~E,~:;,

--.~.~: -, " ~\.

was composed during a joyous although eventful period of my life. As in ~

i:'~:.iV' Mol ten voi ce thi s pi ece consists of a seri es of sound images based on hit{'.;';··ii~

;::d~rferenti ated sound sources: white noi se, simple and compl ex synthesi z~d~::.~:;:h~;:f~<":$()l.lnds and sounds recorded from a radio. Continuity is manifested in tli&;;, ·.;l!~

-.',::;~_-·::::,.:i:<_ . ',,, ' i~(? ';~

rhyth~ and the over-laying of adjoining sections. 'Gems' is a convenient

:~p.TTling of r jsms', whi ch is the phoneti c transcr~ pti on of James. concordiia.t]~;:~~,

Electronic Music Studio - Fall 1980.:'(uT)

( KA)

by Dominique Bassal.

Much talent, much concern.

et Illusions

RADIO PLAY IN TWO PARTS - BOTH OF WHICH ARE ME

Building blocks in motion; a tale of compartmentalization and

alienation; for 2 tape recorders, synthesizer, piano and voice.

(1977) (OF)

. backwards as forewards same the looks time, people some For. prepared

Ah good, we fixed it at last - sorry for the trouble

A short rest while we make sure that this kind of thing doesn't happen

PAUSESEVEN

....' - :;:~"

Stores left and right. Don't burn your fingers on the hibachi§.

technical unforeseen to Due :

again.

originally as presented be not will piece this that appears it, problems

.' .." ,:'·__~;~rrTt~·" :)';~'h<HAlT TOO~ is the second of a,series of works in progres~ that:~.er::)~KV:}.~ttd~:t1.:~\"

" ."'" .~_~ '_<,~,- ,~, ..,~.". '-;: ....,.,11-...',.'"'.0 ',',"- 'or

1982. The piece explores the nature of a simple spokeii.t€xt:'in:ai,~,;:::::··(.,.:';. ..~-:-'.,' "'-~ ;; . '", -'.~~.~.'~':~~~':~~f.:;.\

canpl ex sound environment, as it undergoe,$ vari ous electronic processes. The <~.l~:\}'

.1X1~iU,.p\()cessing device is the digital':,:q'~~i~ line. The performers continue the>:';\)fO~~~s~'-Qi,~'t'ransformation in rea1 tjm~ ..:;?-).~ (KA) ,

·1 >.~~ ::":!<~:r:;..?~·'~ ..:~~\~~,~~ .,. - '..;.. ·:.4~'·.~·'.'):,::'

DUAL CONCERTONE (Stuffed Guppie farce) is the younger twin

sibling conceived

later, to Three, For Play, descended from Foreplay (i) and Five for Three to

One, PLAY! . The family line dates back into the middle seventies with the

ICELMU family of tape delay pieces. The 'Dual Concertone' is conceived as

an out-of-doors piece, preferrably for hot, sunny afternoons. (KA)

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Roadside Litter Roadside Litter is dedicated to the Roadies, Dave and John.

It is based on their carefully culled collections of

-01,.; acous ti c and inte11 ectua1 debri s. An ecl ecti c approach

,Was taken to the organization of materials on the tape, with dramatic connotation,ii,'. . "1,"< ~.;~;yisual associations and sound patterns providing the fine structure withiIJ~n.if~~

'over~})tiE~,~fwork related to the complexity, variety and "natural ness" o{<the '.sounds inVolved. Processing invol~es the use of digital delays and equalize;s,

:~~~~'."'.'~";•.•.:."'.:.:.:.:••<.<'.. the latter being used to remove blocks of frequencies from the sound at various:,,~ ,', "c,ti mes during '. the performance.

~,' ;' ._.' ,<,_,l' •.. ~' ~\'\tr..>1~2tape~~fE.e~lf~~dwith the assistance of Kevin Austin in the Concordia

iU~iversitye;ght track studio in January 1983.

PAUSE EIGHT<··•••• ;.;'.'·:,·~j:: •.·i:;~~~~~~:;~~ ..

It appears, that unlike a previous version ofthi,s· ,..,;,~",?:t.~."

piece, it is happening in the right direction. Truth"~,;'tf~~~J~i;and beauty, when partially backwards don't look the same, but that may not

Stores left and right. Keep children's

hibachis, please.away

their under-lying reality.

Vortex Suite A six movement suite, taken from music composed forthe~'gaw;e

of the same name by the Montreal dancer, Iro Tembeck,i'rt19"SO.

Originally played in six channels, tonights performance is in four. ' .. .1

(i) GRRTCH 'Cockroaches' - synthesizer

(ii) HORNED MINUED French Horns

(iii) SHUDDER-ER-ER voices - processed

(iv) HORSIE voice - an invocation to the race

(v) SLEEZE instruments - the bar musicians life after a coupla' years

(vi) DISCO instruments - s~nthesizer entrance to the void?

(thanks to Ideas for .the bed-track;)

Created in the Audio-Visual Studios of Concordia University, the Concordia

Electronic Music Studio, and at home. (KA)

Denis LorrainLES PORTES DU SOMBRE DIS, cycle pour bande magnetique (1979)

duree: 2S mins.

Conceptuellement, cette piece utilise un seul

. element sonore dote d'une en~eloppe dynamique symetrique. Ce son

elementaire est mis en oeuvre a differentes echelles de durees: depuis

quelques minutes jusqu'a quelques millisecondes. Par l'exploitation

de cette plage de durees et par le jeu de densites variees, on peut

parcourir un domaine allant des sons purs prolonges jusqu'aux sons

ponctuels isoles, en passant par des bruits plus ou moins rugueux ou

des masses lisses.

L'evolution temporelle des caracteristiques appliquees

aux sons elementaires (densite, duree, timbre, intensite, hauteur,

spatialisation) est repartie sur trois cycles concomitants, mais

asynchrones: deux de contraste minimal et un de contraste maximal.

Cette organisation cyclique impose la liberte de choisir un point de

debut/fin pour chaque execution de la piece; elle permet en outre

-- puisque les sons elementaires sont chronologiquement symetriques

l'exposition de la piece dans l'un ou l'autre sens.

Une fois mise en place cette macrostructure forte,

les dernieres etapes de la composition, puis la synthese sonore, ont

ete executees par des moyens informatiques. LES PORTES DU SOMBRE DIS

ont ete realisees a l'IRCAM (Paris); la premiere audition en a ete

donnee au festival Musiques multiples de Saint-Remy de Provence, en

juillet 1979.

d.l.9/8/79

CONSTELLATION I

Par analogie. CONSTELLATION I est une associationartificiellede structures (masses. objets, trames ••• etc) fortement contras­tantes dont chacune. tout en privilegiant des elements particu­liers du langage musical electroacoustique. accuse un profil for­mel nettement marque dans l'espace et le temps.

Sans etre une version electroacoustique similaire. CONSTELLATION Iadopte sensiblement l'organisation structurelle d'une oeuvre an­terieurel MANDALA I pour cinqinstrumentistes. Basee egalement surla ,theorie du mandala. CONST~ATION I repose essentiellement surle principe d'unffication de~ ~orces les plus contr~dictoires.

'Des objets/ montage A fort potentiel energetique articulent, fu­sionnent les neuf moments contrastants de CONSTELLATION,I qui conser­vent toutefois leur configuration propre dans un vaste mouvement degravitation.

Constante spirale qui oppose et concilie •••Oscillations de l'eternite du temps •••

Commande du Groupe de Musique Experimentale de Bourges et rea­lisee dans les studios du GMEB en juin I98I, l'oeuvre a ete creeeau I2' Festival des Musiques Experimentales de Bourgesle 9 juinI982. Martine Epoque en fera une version choregraphiee au Festi­val de Banff en juillet prochain.

CONSTELLATION I est dediee ~ Fran~oise 'Barri~re et ChristianClozier.

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",': .1. STRUCTURALISM: designed two-channel scoreusing basic shapes of geometry ( ) asgraphic symbols on frequency/syntax grid.

Score channell: a) statement b) retrogradeScore Ghannel 2: a) inverted retrograde b) inverted statement

o

2. POST-STRUCTURALISM: built sounds using the geanetric shapes as models.Each model was passed through two interpretations, onetransparent and the other opaque yielding for example;o becomes first a thin hollow sound, then a thick hollowsound. --

3. POST-STRUCTURALIST EXPRESSIONISM: finally, revised and cut tapesruthlessly, in accord with aural response, and interjectedsonic commentary upon prior structure. (OL)

-,,--,--=-:..:..~~,-,-,--,E:--v-,o_l-,v-,i.:...:.nx..g The composer wri tes, \I Realtime meets tape time.Voice, record, tape and synthesizef. A departurestylistically. (979) II (OF).

in the studios of CHOM-FMConcordia University. (KA)

Dis... i11u.sion 8 tl2ni.ios March 1981

(J.\l.J.)

~",~~}\~~r~t:ed man '. s attempts to reach the heights ao'd depth of soundg!~~~gita1 oscillators using analog equipment. There are the equivalentQ~;-(.5b oscillators rising up to a plateau of barely perceptable changein"a landscape of banked and undulating sound.

FAM I LY ( I) .sa' f f h1. p1.ece or our cannel tape. The family .....

. to is a sonic one, and the sounds produced by thiS~';.~.!~~~~part1.cular automated patch occassionally have a slightly humourous quality. ::;:1~J)~'

This is only one of any number of possible realizations of this piece. .."<;'" .

Composed at the Loyola A.V. Studio in April, 1983. Duration: 4min. Olsec.

K.A.

RONDOOOOO

Ce~~e son nett llindique Rondooos est nne pi~ce en trois parties.

Le prerrler J'louvement bouge sur une piste stereo.Les pOlS entrecoupes se repetent

un procede special de doublage ,Ie troisiette

reverberationau second plan

alors que trois autres pistes slajoutent au ~~~~i'~.

Le deuxi~me mouTement reprend la meme piste lUis placee

sur lleeho et l'Ilontent.

",,':.;:':':::",.:.:..':-

Le trois iem.e' tl.oUveIl1ent est 1',al)otJle

mouvel'llent .se deplace daD.5 Ie temps avec une vitesse incro:rable.

UNIVl'RSITE CONCORDIA MAl ~2'CAMPms LOYOLA CAPAC

itself.

TO GREECE A work produced at Concordi~ Uni

Voice, pi~no and processing. It(KA)

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Piece for Guitar A delicate work composed in the Stu~io<tn,_tre.~{;;winter of 1980, the composers' sensitive ear 1S ref]~~e~i,n the straight forward presentation of th1(·~p)iece;~,;':JP;~?

piece is for guitar with ring modulation.

PAUSE NI NE Aco11, ecti ve compos iti on by a 11 h~ar','~ndi;h~~"s,'6~e ~ 'Th~::' '" . ~ i _~.

hardly perceived motion of the sun counterpoints the sonic"

in!e~B}~yof.t,he wind in the willows. Hibachis for cooking. Food left and

~i 9nt.>()I1Sher¥rqo,k.e St ..~.: >:~;~!~~:-~--" ';'" ';.;- "'-.--~

. __:~<,,,;;:-i_.'*>'t... p Ir r'"

WAIT is part of a series of works in progress that were started in

1982>.~~'The::piece explores the nature of'a,simp1:~ spoke):l,.tei.:~>~·-;:',,::,",' ~: '>". ':.." . _. '. '.".,..... :' I·.~·::,o;·.':.·,_'... · ·":<.;·__ ;,,:~,.-<·_~~.<,_._:t.-,,:~·

in a complex sound environment, as it moves f1:'oiJi h~.vilig·verbalv'ai'tie~~::, ,,' . - .•....'- --". ' .... ~.. , . , .....•. " .

towards more value as sound, and back towardk ~~pl~~':>~dtbalvai~~•. This

transformation is accomplished.by the use of digital delay lines. The

performers continue the process of transformation in real time. (KAY

~- "

, ~ ,.

t,,-o ::::::: :;::':::',:~~~

I)

jT,i\A,1&,I'F,

THREE, FOR PLAY is a collide-ascopic work for strings, with optional

keyboard(s), with tape delay..The interpretation of

the score, while free in some senses, demands attention to sonic detail, past

;;: ~nclpres:nt, and ipso facto, future. Structurally, a cros?:.b·e·tween the 'moment".". 'J;r-. . .~..."

·:;:;~:~,:~.'c:::.,'.;.S;?9[r :~~~e, so beloved by ~~o~.k.n!l~sen., and the 'in.a: .. m.oJn~nt' type, so'loved by"

"Hie procras tinator. '. '0i'~%~kjt;r~,;}h;': '}k.A~l.... ;" ---:; - ~ '-. , ~- ,t~

ownership condos slurp

FLORIDA.. SWEET It was amazing, there was weather every single day .

Birds and the sea are what it was. Interval

up the waters that support the life of the south. (KA)

PAUSE TEN A quiet piece. A little respite from the noise and clutter.

Each little sound like a polished diamond floating in thesky of blackest velvet. The little dickie-bird sings. The big dickie-bird

sings. Don't stand under the big bird, even if you feel that you understandthe little one. Stretch out. Get up. Make up your mind; Think yourselfa tan.

FREE RUNNING CLOCKS (I) is an oxymoron, since clocks are anything but

free-running in the conventionally used sense.

Pulsed sounds are heard as pitch complexes, paired or grouped members, or as

sequential elements moving around the four channels. Their rate, envelope and

density-change slowly. Attempts have been made through high frequency notch \

filtering to produce the illusion that the sounds originate in a plane that is

not that of the loudspeakers. Produced as the first of a series in the Concordia>~~;~tt':i:'±~:>:'\

ity A.V.D. (Loyola) studio in April 1983. K.A.

SUN Started in August 1982, this is one layer of a much

larger work of· the. general title Sea Scape. "Sun" was

composed using twelve descending oscillators, multiply recorded, producing

.' S. E. Scape

at times, the density of 192 oscillators. The single gesture is very

simple, descent. The work has a duration of a little over forty minutes.

The slides were taken while on various trips. Through the copying process,

five or six 'families' of images were produced. A range of filtering

techniques were explored, and at times the dividing line between the real,

the imaginary, and the abstract is obscured. For seagull with love.

Thanks to A.V.D. Loyola for facilities, sound and sight.

DENIS LORRAIN

Canadien. ne en 1948, il a fait ses etudes musicalesa Montreal CUniversite de Montr~al et UniversiteMcGill). Titulaire de nombreux prix de composi­tion et beneficiaire de diverses bourses canadienneset etrangeres, il a sejourne en Europe de 1973 a1979. Depuis 1980, il est professeur a I'Universitede Montreal, et directeur du C.A.M.I. (Centred'applications musicales de l'informatlque).

DROITE, hommage a LeCorbusier

piece radiophonique pour instruments et textes de LeCorbusierduree: 18 minutes

Outre deux sequences plus libres (troffibonne et vibraphone), DROITE utilise

d~x materiaux de base dont les durees sont marquees par des reperes percussifs,

comportant des sons instrumentaux et les textes. Uniqu~ment deux phrases de

LeCorbusier sont citees, extraites d'Urbanisme, mais l'hommage s'etend a l'ensemble

de son euvre p1astique, sans poutant enteriner comp1etement les theories

fonctionnalistes enthousiastes qui sous-tendaient sa demarche.

Comme le signifie son titre, cette piece est depouillee. Elle st e 1abore sur

1 'exploitation des materiaux de base, a 1a maniere de modules architecturaux. Par

de 1egeres transform~tions, par le jeu de successions interrompues ou de

j~xtapositions, de substitutions ou de de-constructions et de re-constructions,

une architecture temporelle est mise en place, dont la motivation consiste en ~a

recherche dtagencements varies et ambigus, a partir de llemploi rigoureux de

q~elques elements simples.

d. l.Hontreal9 mars 1981.

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Electro-acousticComposers' Group

out of doors/en plein air

SI·Jeon Baptlste campus Loyola campusI'universite Concordia University7141 0, rue Sherbrooke Sf. W,

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EVERYBODY'S TALKING AT ONe E A party you say? (KA)

Chiar6scuro (1982). Solo tape composition. Chiaroscuro was compsed usingthe sounds of piano and analogue electronic sounds. The title refers to thedistribution of light and dark timbres throughout the composition.

In Chiaroscuro I am exploring the piano as a wholisitic object, that is aninstrument which consists 6f metal,cood and ivory. Lik~ a cubist painting morethan one aspect of the object is simultaneously revealed in an Qffort to expressthe total essence of the instrument.

The composition can be divided into three sections of approximately ,five, sixand seven minutes respectively. In the first section most of the sounds arepiano sounds which have been mainly filtered and manipulated by speed changes.The electronic sounds have been selected by their ability to compliment the

piano. \ In the second section the acoustic and electronic sounds no longerco;;':­exist side-by-side as in section one. Instead many of the, paino;sounds havebeen synchronized with either a frequency modualted, amplitude modulated or ringmodulated electronic sound. In,the third and final section the predominate soundis an electronic texture with acoustic sounds embedded often imperceptibly w.itqin

\ . ':''.' ']\11,..-, ,'~. ,

th: texture. Th:refore the overall s~und direction of the composition is fr6m:~i~¥t.:.pr~marily acoust~c sounds to electron1.c sounds or from sounds we know to ne~.. .(.~,·artifically created sounds. In my mind the net effect of this transition1s.~~:i'tha~ the listener does not tend to hear the final section as a cliche-soundi6§:bank of oscillators but rather as an evolution of the natural piano sound into a newsound. The sound of the final section makes me visualize an entire piano beingbowed in one large vibration.

Chiaroscuro won CAPAC's Hugh Le Caine Award for 1982..\. ..' ',,:: ",: ~ ;.-

electr::::ms:~:~:: ::: :::::~: ::i:::~h~h~~~:~n~:rv:~:e~e:::~cc!~{i;~1\~~~~j~1Choir. The women's voices are the only live sounds, the others,h::uring:r -. , -.'

.been recorded or created in the Wheaton Electronic Music Studio •. (The

children-and their voices - are five-year-olds at the Wheaton Nursery;

School.)

The words are from the poem "Ragged and Eager" by Elizabeth Marsh; ...

the compos~tion uses this text freely, changing the order of. the words

as well as repeating and fragmenting phrases.

As the title indicates, this is a depiction of the dream - - as a

distortion (caricature) of the awakened state. And in a larger sense,

both the dream and the "daytime" exper"iences, as well as intermediate

states such as daydreaming and illusion, exist within the general

environment of this piece, with any state generating or containing, "";")":i:2,:"~~;<"

another (as for instance illusion giving rise to real;Lty.Or ,adr~~irt~t·.?'·~~:·f;~\~including adaydream). . ... };t;iiG;~~$'" :'(}~~$];{~f

PAUSE ELEVEN This work, as it continues on the series that has been

started before it, continues on in the same way, or atleast in much the same way as its forefathers and mothers, inso much as itis conceived of as being a work of significant cosmic significan~e in thearticulation of real world truths (of course, reflecting as it inevitably

must, the nature of the real thing called beauty). The listener is asked to

listen and absorb, feel and be, communicate with nature and have patientswhile we fix the problems that the next section of the programme is going tocause. (KA)

• PIE CE FOR, F0UR lR.ll, CK T/\ PER ECOR 0EReANA0A UNLIM I TED NUMBER TWO

. Virtua11y a symphony on tape, the compositi on took the better

part of two and a half years. The duration of this four movemant piece isabout 62 minutes. The work exists for solo four channel tape, tape and solperformer, and also for tape with several, performers. The principal sources

:::t:e:~;~:a~:~g~~:c::1~:::~::e:.t::;~e:n: ~:::::::~1S~~~:~i ;~~h;~:~:: ~h::~!:~~:,~j'.when the end of a verse is reached, it was a guide for me to start the next ,. :'\:,,~.:"'" :": '.~~~

• • > ~ .' '~. , • ~ '~ •

section. The third Imovementl is a quotation piece, Volhich wasusedasthe,;>.;~B<?·:i':'f;~_, ": ' ~":-,,., •.,. ·,:,:~';"O>{~.;.;'~',~;,,;:' " '''.:·;C:

source material for several other pieces, which were then in turh,re-quoted:i:t,:~;j·~:::'?·.:i:':·\

in the revi 5 i on of thi s movement. Produced in the McGi 11 Uni vers ity Electroh'i:d<:~i';~t(,;?F';:x., ';,.~~ ....¢'j" ' , •

Music Studios betWeen 1970 and 1973. (KA)

", "

WAIT is.part of a series of works in progress that were started in

1982. The piece explQres the nature ofa simple spoken text,

in a complex sound environment, as it moves from having verbal value,

towards more value as sound, and back towards simple verbal value. This

transformation is ac~omp1ished by the use of digital delay lines. The

performers continue the process of transformation in real time. (KA)

PAUSE TWELVE This is the shortest note in this series.

(Almost. ) (KA )

Pin.

,- ."

. 'b'"

" -

THREE, FOR pLAY

the ~core, while free

and present, and ipso

form type, so beloved

the procrastinator.

J'T,I\A,1&,PF,

is a collide-ascopic work for strings, withioptional.,' .

keyboard(s), with tape delay. The interpretation. of

in some senses,'demands attention to sonic detail, past

facto,future. Structurally, a cross between the 'mo~e~tl~ .

by. Stockhausen, and the lin a moment' type, so loved by

(K.A. )

SONERGIE (1980)

, ~.

Alain Thibault

Einstein nous a appris que Matiere et Energie sont convertibles l'uneenE -mc2,la matiere est de l' energie condenses.

Il n'y a rieh d'autre dans l'univers que de l'energie.

Nous pouvons donc remplacer le terme "matU~re sonore" par" energie sonore".

L'energie sonore ou SO~ffiRGIE utilise l'une des sources physiques d'energie pouratteindre le corps: l'air, qui nous permet d'~tre touche par les ondes sonores.

L'energie sonore nous penetre autant par l'ou~e que par Ie toucher.

La musique est projetee par des systemes audio-tactiles qui nous .communiquent unevibration.

8i l'auditeur-tactile vibre sur la m~me longueur d'onde ou resonne par sympathiea cette vibration, il y a communication. Un transfert d'energie est effectue.

Notes techniques

Cette piece, realisee entiercmcnt avec un syothetiseur analogique, utilise deuxtechniques de synthase: 1. additive, 2. modulation de frequence. Pour la premi~­

re je me refare a des travaux de Jean-Claude Risset sur la synthese additive pourobtenir des sons a spectres inharmJniques avec l'ordinateur. Tandis que la deuxie­me fait appel aux etudes de John Chowning sur la modulation de frequence par syn­these numerique.

Cette musique se caracterise pas le passage constant l)de sons a spectres harmoni­ques Vers des sections ou predominent des timbres inharmoniques 2).de sons rappe­lant des timbres instrumentaux (par exemple: orgue, cloches tubulaires, etc.) etdes sons f~isant directement reference au synthetiseur.

"

Entierement realise au studio Bru't:t.',>. ~ 1

Blanc , ~ Montre'al. " '.a .. n •••• ;.;,

l,,-r't ,:t:"

. .~:.

Early one Friday 6.05 mins. April 1981

A rewritten version of the end section of a tape produced for ~.~

dance theatre piece by Odette Oliver and Tassy TweeJanan first ;~'>~'-"'~"IL ~- •. ' • ".;:' ,- - • ~ •

' .•. p~rformed at Le Groupe, de 121 Place Royale in Ottawa. A play •. ;, '." b,etween naturally recorded and synthezised sounds evocative of!' ,.,,:>', :t.:" ;0.- . ~.-. -;" " f' ~ "~"" ...

, , an I awakening', or atle!istgetting up in the morning and 'ti~~"'Aq:frigto w::>rk. ' . ,;~.,:~ ....-;~,-

.~

SHORT PIECES KA/THLEEN lEAR/WOOD

1. SILENTLY DEPRESSED all the nOlses that come off the stringi of

the pyano and are not heard so well. k~s are silent~ depress

ln order to free up string for ~mpathetic vibration. Coming

of a conversation with Is McDonald •.• about a society where it

possible to express the spectrum of human experience,rather than~o

internalize lonliness,grief. Electronics thanks to Wieslaw

1983

L1ARCHITECTURE DE L'UQUAM was commissioned and completed in March 1981 for

the film UQAM by RM TARIENT, a student in Fine Arts

at Concordia. The film was completed in October1982. L'Architecture de l'UQU,ll,M>

\,lIas created as an aural interpretation of the images in the film using a sy:nth:~0):in the Kaya Music Studio and mixed at the Electro·-Acoustic Studio of Concor1li/:'·

University. The piece attempts to explore the mutation from cold to warmth/;~)"";;: ~,j , f

This presentation is a mix of 'the original stereo recording substituting fdii';t,h,~. '" .·':'-l··~···

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Elemental 12 mil1s ;j97f{·,.':<', ,';',':":,:' .::<'. ·.~;~i,J:':;<

/I~~: ~.eC?Z:~~.3~ri\6S,~i~Wh9liyelectronic composl.t1on he produced"?'fj2:~he.'!~~a.d~ Sebool'.1)~-Art Theatre Department sound rbom which he built in

t;1~~?~;>':'7~i~lt!d;!'!'Elemental"because it W'lS conceived as a battle.between~W?opposiri'g electro-ch~ITlic::~l forces somewhere on the edge of theunl.verse, but more probably at his horne in Carnberwell. AVCS3 andtwo revoxes were used.

thi~organtsm ~f~ made up oi layers, whe~

a composite image, which itself changes as the semi-:-,;, d'/1. .. ;,.:':'

1ayers appear and di sappe~r, and as the organi sm revol ves. cc,:' (HK)

ac'es II (1982) is a condensed version of "Surfaces", a piece

commissioned by the "la 'Groupe de la Place Royalail,

a modern dance company working out of Ottawa. Th~~3i!the Moog Synthesizer at the McGill Electronic Music{

"'-.--. .-'

is encouragedto visualize a large, semi-transparerL

The organism is slowly revolving, sometime§:i,

COLD SWEAT IN THE NIGHT This is a study in appropriateness of

sounds with respect to time and space

to create a piece of music. The conclusion: put it where it feels right.

The instruments used were piano, bass recorder, contact miced hacksaw

blade twangs, voice (through bass recorder body), 2 - low frequency oscillators,

and a rich 'blend of oscillators. Processing involved tape reversal and a

vocoder (with the piano as a carrier for the oscillators). (R.S.)

~

~:J~-~2: 0-~ C/)..,..-~.,.-.-.~-...-"*:::"'-.l

ALAIN THIBAULTDISTORSIONS DE L'ESPACE-TEMPS ( QUARKS' MUZIK) 1982

"Quarks Muzik" est une partie d'une plus grande piece

multimedia en preparation,basee sur la theorie de la relativitede Einstein.

Dans cette piece j'utilise des techniques de synthese sonoredeveloppees a l'ordinateur et appliquees a un synthetiseur analogiq\l.la synthese additive 2. la modulation de frequence.Pour la premiere je me suis refere a des travaux de Jean-ClaudeRisset pourobtenir des 8cn= ~ spectres inha~oniques en addition­nant des ondes sinusoidales tandis que la deuxieme fait appel auxetudes de John Chowning qui consistent a produire des spectrescomplexe~ en modulant un oscillateur numerique par un ou plusieurs

autres.

J'utilise egalement un synthetiseur de voix numer~que controle

par un micro-ordinateur de type "Radio Shack TRS-8o".La production des mots dits par l'ordina teur se fait en assemblant

les codes des phonemes se trouvant en memoire a l'interieu~ ducircuit integre qui contient ses propres oscillateurs,filtres et

,generateur de bruit.La voix est ensuite "processee" dans une unitede retard numerique (ou "delai digital").

Les titres de chacune des parties sont~

1.Quarks/Antiquarks2.Space-Time Distortion3.Espace-Temps Courbe4.Danse des Electrons a la Vitesse de la Lumier5.E-mc2

14min

FR'O G : SUI TEA ritorne11 0 form. The i ntroducti on of

the main theme, the tune of a continuou,

ghly textured nature, is ~ollowed by a quasi-soloistic section~

The sharply articulated sounds in the higher registers give way tothe"i;;: .,.'.'"".~..'

full ensemble of section 3 1 s ritornello. Section 4 is a polyphonic'::;,;:.,.

region, contrasting the apparently random sounds of the lower voices

with the more continous sound of the flying sound. Ritornello. An

allusion (illusion) (Nay, or baahhh~~ quotaion?) from Strauss' Don

Quixote where instruments imitate sheep. (What silliness.) Many try to

be sol oi sts, some si ng out of tune. (A rather amateur performance, and

in some ways, sheepish.)Ritornello. The last episode was, of cod'Y'S~.;

inspired.bY.SteVe Reich and or Philip Glass. A solid, and often q,~{te,:i\> '.' •.•.•..•..••.»> ...••.....•.. '. ..... . ,.m;,~. ,>

origi.n~lperfgrmanceinthissection. (What. else,? -) Ritornellq.~·}'!~ ~~~.~

Our:thallks to Andy the ranger - (a. ranger?). Sounds synthesi zed:',:.;;r-VJ<'/<::'::>"<';:>::--:':'::".>i,::'\',",,·':':": .. _ . . . .,-.-. ·-t~

Ma.Nat'sown lab near Flamingo. Produced at MetaMusiQuebec Son - vi'

PAUSE THIRTEEN Shorter than yesterday:

Plus of Minus Two Seconds uses various short gestures for its composl'tional .• . ';.:~"'l\t.;".,

materi a1. Wl th these sound fragme·IT,t.s'~.. ·~~.?tructure

ac<:ommo<jat,e synthes i zer improvi sati ons based;·'ypdn~6.~·e··Bi!s i c

sine tone. '}i~:-' ~t;.'·:;·i~is in three movements. The first permits the four perfo~.me~sT,to:<

!l::: .-'. 'w.~:,-.:'.'

the structure as a door is opened on their respective speakers·};;ft-hfs is

heard as a short sound compl ex foll'owed by along sustained upward: g~J~:sa·rtdo 'to:.~:_'-"<:~: ',<;".,..l

which the players have previousl The players weave among·tb~;~cbmplexities'<;.':1;

of· the tape, mimi ci ng and foundatib'n for the

sound structure.

The second movement is of a more sparse the players to come

forward in the sound~cape, and colour

The third movement symbolizes the completion of the structure. Finishing touches

and decoration are provided by the ensemble.Th's·s~ctionmoves towards a final

unification of the material coming from the four speakers. The effect is one

a 'closing in' of the sound source, such that the final ge.s~~~:d,Gf'tl·~? in the

centre of the space. . " .....~·.~~;f·!f::·'i.;,·i;,'.:'.;:·JL

.rpl us or Minus Two Seconds I was compl eted and mi x.edi n the':'~'~~~~~J$:~Udi 0

the Co.ncordia University Audio Visual Department, Loyolq':~aJll~s7;~o~~~B!i:Jary 26,'.'~ "'._ _.': _.~.~::::: •.. :~._~~.... '.':_~ '~d"~( ".: ._

1983. Instruments used were a JUNO SIX Polyphoni c Di gi taY·Sy'rithes·;zer·, and a

Svnthi A. (D.L.)

FIRST PtrRFORMANCE

12 windows

TWELVE WINDOWS - John Wells

Composed with twelve sections of approximately one minute duration each.

Eighteen units of differing material have been originated on a RollandJuno. 6 and recorded. One half of these have been digitally delayed.The material has been organized and mixed down onto four channel tape.Six sections are treated with overlays, three as canons, two asbackground information for processing in performance, three leftuntreated, four have live solo accompaniment with one performer foreach channel, two have four players, one has two.Each section has been organized as an entity in itself.The last piece is combined and extended to make two continuous sections.

Relationships between "windows" are coincidental and for contrast.Each section is an event, a window for seperate interpretations.The "views" through the panes may be distorted, be crystal clear,occluded, covered in frost, seen through condensation or drawings indust. They are at different times of day and season and location.They move through time, look out and look in. Whoever or whatever receivesinformation through the window is an incidental agent. It is the framethrough which the view passes - interpretations would not exist withouta "window".

Recorded in January 1983 and mixed at the A.V. Dept,Loyala CampusConcordia Uhiversity

\Ito

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(ft _ •

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'-'""::'':''.'~~.;:~''-~'.'''~,,::':~:_:': ... ~~:,_:~'.~;.>.~-,' ,- '.- .- - -- ';"Hh\+TTO'O'~-~·~,::.t~:(Qi.Ef::s~{:9ng·:of·a· serjes,Qf works in: progress that were started in

_'_:_;;~""_"'~,~'J;{>j._~-\'.":-':_"'~_:.<':'~'~:~_~f;l,:;~::"."'.,~".,.~~.~: .~~.O;..:i ?_~_~:_'_"' - :.... ~;_ .:- -., ; ~":.:':": ;'. -"~:_ ,:' _ __ ~i, <:'" _.\'._;'J~;:';~:\;~i~~~'.~~~;,·:;··:-:'f982·:·,·tfiepiece explore's the nature of a simple spoken text in a

. ;_--:"':..~J·:"~:'i'::'~ ;,-/~., - . --" - .

.'·c~plex sound environment, as it undergoes various electronic processes. The

(~~:in processing device is the digital delay iine. The performers continue the

;;'8~~cess of transformati on in realtime.(KAt::.'

KlIoJ<. YLV~(~I7:.1"J..r:Z:,:z:;;'.==---

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facto, future.

by Stockhausen,

THREE, FOR PLAY

the Score, while free

and'~re'S~nt, and ipso'.-, ~

'form.. type, so beloved

'''. • the' pro~.fastinator.

:'·\,:~.r¥ ..·r;.~~;!·;

is a collide-ascopic work for strings, with optional ~.

keyboard(s), with tape delay. The interpretation oi1::'>",':,'~",''\:'-''''",-.,~J"; .." _.

in some senses, demands attention to sonic detail ,.P~~,~;?,·tt. • ,".,.1'" . 'f

Structura11y, a cross between the;.'m~tii'8ni/l.:," '.,'<,..;..<. ~ ~J

and the lin a moment I type, so lovedd})k,'"...,.-.1;~

(K.A.)

CLIPPERFIX - SUPERSONG is a collaborative work, in this r.~~·~:ri.tt1i.ion, fOT

tape (four channel), and live eL€1f~¥b~i~l~~·Sound~_>:_ . "'.'" , ~}J:hl~f_:~:~~"::~;J~'~'

sources. were collected byth~:'f~:()~p()?¥:t's!a,t.;,:ya:Hous'·outdoor 'll':q11;.±q)is.in and:~-: ":"'~_>'-'-f-':::~5~;:':~-'"<::D~::s_j~?:~~:_,"_?~'.:: ~::t~~;,~.~~-~~~',-~-'" ," _', ,;:": ,'~,~, -. '_: _,_.:~;>;:~~:_.,:. ,~~i -_.:~~:..: '.:;~ ,.~:_ ';.

around Montreal. The piece open~iltl{:'s'otI~4&of cl}ildren st'if~Ihg"~:~t!i~:~metro<<":>' ,-c'·',>- '--'.:-~T~:--:-:->:,: '."'.:.1::: .~-~~-\:~~~.;;. ~ __ '.• '\', ~:'::~>:~f~;,,-}~!-~:;~l;:f, -,

station, which dissolves into a song. Children' s~·io.iJ;e~,:itre;;'Qy,:~idubbedthrough, ">.: ::~:i!!:~:'::;~/"·7-~~·-~·>~:."";>\ .~~~(,,:-':.

these two sections. (In a later version, children rS~c:ho:ru~A};11]/sing over:,,;~::,. - - - ':4~;'':'-~'{~':,;

the bass line.) After a brief silence, rain and birds end the piece.

K.A.

''" .

PAUSE FOURlTEEN Shorter yet. ( KA)

' ... :..... ,. ....... ";.. ~1-t~!J. •

(1976)pistes.

La version originale de cette piece a ete composee pour,huit voix, et c:£~ey en concert par l'Atelier laboratoirede\,J~~"

la Faculte de IIlll.f3ique de l'Universite de Montreal en 1972. :......•.•...........•..~.....:.,•.•.'..••...~~.l'j.•,..:••.~.•~...•.~~.'..'.:..•••..•~.....••'.:,.•••.:.•..C' est une/pieces-jjpchastique classique --:au sens ou le ::~~.:deta.il des structur~s y est realise selon~~s regles probabi-liEl]ies-, cependant inscrite dans une formeglobale tr~s ~~*os.~ffi~le et determinee: celle d 'un vaste crescendo de. tous ~e~3r~~}}~:

j~'f\;rt~metres pris en consideration (densit~s, durees, lntenslt~,~'i~~~~",{YF}ti¥;ete de. timbres). P-A est basee sur une serie de phon~mE?;~;~·:~!!t;:

·~,1&!t':I'i?:n.9ais classes en orare de "sonorite" croissante, de /p/ ~::>:';'';;';:i:ttif;;.J:~~":" .. _.' ..... . ..,:~fk

.Jj? :V,8rSi..fH:"1: -l'tE.J£H3:E:t.ee ic·i & eti synth2tis(~e ps.r ordinate~J.r

. ·A_J.~..rrru..Yer.si:t.B.d:.e Ma::cs:e.ills'j .elIe .fait usage de timbr.e.spseu.do-'vocau:x,~POlli3~ma."rnvu.e1:& de structures forrnantt9.1J..e..§de~ .p1iori~mes;..<. .'.', , 'J;-:,.

-.EIltreprise 3ans·',-1a." soli tude de' Luminy, elle etai t pour'moi destinee a effacer l'amertQ~e laissee par une premi~reversion~our band~realisee ~ Montreal en 1971. Elle y re~gsit,

dlA.IDo.ins <Q.9.-n~la mes\1re ou elle me permet de clore?]}' ex:pef.gl..,$~ce<\ pen pre:s:"sans regrets: n'[nils. .ce que ga pouvaitSc,..~.tr~••. "! l~/!':~'i

"{~~~~fld.l."\15.12.82

Denis L'2sp~rance(1952- )

by '!Jeans

working

the-Insti .tute....- '.

of 30nology in Utrecht(1980-8l),curr~~.~_~~J

on theoretical aspects of sound

B.~. connunication arts(1979),work at fufue Loyola.,~.<:':~~f('s-'.--)i'~J~l'f~/;i

electrohif.c "'lusie' studio (1978-79) ,wort

e

over-

is

Frederico Richter

ort or oppose the process.

level along with a

,this is sent b~ck into the

used and the output ia sent through

Sound fields based on the inherent leakacG

CPR(1980

loaded ring ~odulator(multiplier).Asingle

in studio J at Utrecht.

ELEGIA FOR A DYING HERO

of for'ml syste''1s and syntactic theories. Interested

in the production of an audio-visual syste artis

This is an Elegia in Electronic and Concrete means for our earth whoseuseful life is dying as well as its cultural life. I introduce the violinthroo~gh Electronic means.

Duration: 9:15"

Techniques:Keyboard from the LeCaine IP91y', put on low speed and transformed(Elegia). Mixer, variable speed, loops, splicing, filters (hi,band, eq),reverberation,frquency shifter, sine and-square waves.

Free improvisation on the v.ioline transformed and mixed with electronic sounds.In the beginning of the Elegia (after violin solo) there are mixed thetransformed violin passage (no 1).~t last, a violin solo from my Suite for Violin alone (no 2) is mixed (endof the pi ece) . (F R - Montreal, April 1982)' (McGi 11 EMS)

2. TH "CRAZY LADY"SCARES IMAGINARY BIRDS P.Ros~ White and K.y.3. cu"-'_ :-L, ',.

",,:., .for solo ele~t:I'ifie4guitar and -.~.~:mf=! ~

~~ , <# .,,- ........ -' •••.. ~ • - • .." • . • '. -,.-', •••. .~ ,:·'z· ...~ ..-

. 1982built bJ! Keith Daniel.

-:;:,containing rare performances V' Kathleen 0' Neill ~:!oc~.~.~.,,~~nd tele-.+.:.:/:,;:-.'.'. . - ;._'-~~:,-. -~;~·:;·~;~:t.~~;~f·.<.,---,;:..·"\phonEl}·,g.:'!t9ssWh:L.te .( contrebass) and elec. instrUment~i~tt~~i~r-.~~:~and

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t".;",,:.·~ ; '.

StM\ aM J. <LVr-

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