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DBme ~ Robert R~her and ~ the recordlod didactic zen stories. '1982

5. l~E BLUE CLIFF RECORD PART 1

4 . THE BLUE., CLIFF .B.~CORD PART 2 "The Great Function appears without

~ the films O~ the sameitself(collection of

hey you. Tes.h:J ..lou. yes.h~~ou. yes.

"And the line comes(I swear it)from the breath,from the breathingof the man who writes,at the moment that he writes •.• " ehas.Olson.

6. VOICE STUDY '11 thanks to Marie Chouinard 1983

7. THE FOGHORNS IN THE UNSEEN CHANNEL music for bad dreams 1981

8. THE DAYS OF AWE BEGIN 1980 thanks to SONDE.

PROGRAM NOTE: "BRAIN WAVES" BY LEXY LEAN.

WHEN A HUMAN BEING GETS LOST IN A MULTIPLICITY OF GOALS,

HIS RESULTANT CONFUSION UNTUNES HIS BRAIN AND SOUL VIBRA-

TIONS INTO A SERIES OF INHARMONIC OVERTONES.

THE BRAIN WAVES OF SUCH A BEING WERE SCANNED Bt MEANS OF

A DIGITAL IONIC SNIFFER, THEN EXTENSIVELY PROCESSED THROUGH

THE MOOG SYNTHESIZER, TAPE MANIPULATION AND SEVERAL OTHER

APPARATUSES.

THE EXPERIMENT TOOK PLACE AT McGILL UNIVERSITY OF MONTRfAL

BETWEEN FEBRUARY 11TH AND APRIL 27TH 1983.

THE RESULT IS A MIND-BENOING TRIP THROUGH YOU OWN LEVELS

OF CONSCIOUSNESS.

PROGRAN NOTES:

Mon~tret I (Dec., 1979):

Host of the raw material comes from vocal improvisations, creatadover a period of 4 months. This material was either used as is,

or modified via envelope generation, reverb, filtering, equalization,speed variation, and other effects.

MONSTRET II (April, 1983):nina,

4large part of the material is created from Ii. short vocal sounds,which are entered into the synclavier II by way of the sample-to-diskprogram. The material is then edited and modified via speed variation,equB'llzation and overlapping. To this is added other unmodified vocalimprovisations.

PAUSE FIFTEEN These works of the family 'Pause l, by the listener are

yet to listened to be. (Thank oyu Stra Wars II).Instrumentation for this work is more or less as follows: clouds, sun,wind,buses, people, hibachis (~sed by all to cook on/upon), talk, chatter, idolconversation, cosmically significant babble. It must be remembered (i.e.

Venus de Milo's Theme Song - from Dido and Aneas Remember Me), that in

the breath of air that you just exhaled, there were about(statistically),12 to 14 molecules of air that were in Charles DeGaulles l lungs when he said,

'Vive'. Everything, you see, is everywhere; and it wasn1t even his tobegin with.

FUGUE

A work for solo guitar and delays. A fugue of textures.

Ascent, dispersal and the movement from complex to simpleis the overall gesture. The Coda is a gentle reminder ofthe beginning. .. ·(S.~.}··· .'.

FAMILY GAMES (1) is a piece for four channel tape. The family alluded

to fs a sonic one, and the sounds produced by this

particular automated patch occassionally have a slightly humourous quality.

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.

FREE RUNNING CLOCKS (1) 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

;.fil tering to produce the illusion that the sounds originate in a plane that'i~S:.. '

not that of the loudspeakers. Produced as the first of a series in the Concqrdia

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

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keyboard(s), with tape delay. The interpretation6t:.

the Score, while free in some senses, demands attention to sonic detail, p~~t

and present, and ipso facto, future. Structurally, a cross between the 'moment'

form type, so beloved by Stockhausen, and the' in a moment' type, so loved bythe procrastinator. (K;A.)

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 verba+ value,

towards more value as sound, and back towards simple verbal v~JQ:e; This

transformation is accomplished by the use of digital delay l~ri..~L The

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

PAUSE SIXTEEN This is the last work in this series for about eight

weeks. Absorb its qualities. Be at peace with yourself.Calm your mind. Down some coke. Eat a hotdog. Feel the wind. Go where youwant to go. Hear the universal murmurs. Indulge your senses. Just this once,

, don't look at the first letter of every sent.ence preceding this one. (KA)

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 time~, 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.

Birds and the

owner-shiR··;·G9nS.~s,~l.urp JIP, the waters':;.~:'::.r.,;,;~,~·.Jl!.;:~ .~. ';';';::~ ~ ::<" .

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FLORIDA SWEET It was amazing, there was weather every single" qay.; ",.

sea are what it was. Interval< ~-"C·>·:":'d'

that support the life of the south.(KA)

DENIS LORRAIN

_Canadien. ne en 1948, il a fait ses etudes musicalesa Montreal (Universite de Montr€al et UniversiteMcGill): Titulaire de nombreuxprix de composi­tion et beneficiaire de diverses bourses canadienneset etrangeres, il a sejourne en" Europe de 1973 a1979. Depuis 1980, il est professeur a l'Universitede Montreal, et directeur du C.A.M.l. (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 <trombonne et vibraphone), DROITE utilise

d~v materiaux de base dont les durees sont marquees par des reperes percussffs,

cc~portan= des sons instrumentaux et les textes. Uniquement deux phrases de

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

de son euvre plastique, sans poutant enteriner completement les theories

fonctionnalistes enthousiastes qui sous-tendaient sa demarche.

Comme Ie signifie son titre, cette piece est depoUillee. Elle s'elabore sur

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

de 1egeres transformations, par Ie jeu de successions interrompues au de

j~xtaposicions, de substitution~ ou de de-constructions et de re-constructions,

une architecture temporelle est mise en place, dont la motivation consiste en 1a

recherche d'agencements varies et ambigus, a partir de l'emploi rigoureux de

q~e1ques elements simples.

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PROGRAMME NOTE: THE MOODS OF NEBULUS

Duration: 9 min. 26 sec.

The structure of this piece is based on four

contrasting sections (or moods) that share common thematic

material. The theme of this piece is stated in the

opening chord progression and can be heard in various

ways in each of the sections. It is written in the key

of C minor but eventually resolves itself to G major

at the end.

All of the sounds were produced by a Korg

poly-Six Synthesizer. It was recorded on a Teac A,-3340

(four channel) tape deck and mixed on a Teac 8 channel

mixing board (Model 108).

MEKIGNE MOR PROFITTE The evolution of a syntax, vocabulary and

therefore, perhaps - potentially, a derived

semantic within the uncharted waters of the Institute for Sonologie,

pursued by the elusive shadows of an undefined Kagi and Laski, with

large amounts of numeric data from vague, syntactic/vocabularic algo­

rhythms, cheques and balances beat their way through banks of digital

conversions and with an eye for the interpretive/non-realized - realized

version of previously undefined fields of information, captured in a

semi:-definitive form on a !" magnetic medium.

(KA)

Piece s de corps: Ie. corps complet. @ 1981 RAYHER

by Robert Rayher

for:Percussion (wood & metal objects with contact microphones)

Electric Organ

Recorder

Thanks to Kathleen O'Neill, Oharles DeMestral, Pierre Dostie, ':'.}Mike O'Neill, Keith Daniel & Kathleen Yearwood.

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Percussion: Oharles DeMestral, Pierre Dostie, Mike O'Neill & RR.

Electric Organ: RR.

Recorder: R.R.

Original recording @ Sonde Studio, Mtl. & Studio 0, Ooncordia U.,Mtl.

Mixed by RR & Kathleen o'Neill@ Stu.dio 0, OOncOrdia U,Mtl, June. 1981 •

In four parts

Part I :Part II

Not es:

13: 1312:00

"Pieces de corps: Ie corps complet" is a textural musical compo­sition. Divided into four parts, each of which concerns itselfwith one aspect of textural investigation: Part I with individualpercussive properties; Part II with strings of notes brought intorelation by temporal proximity; Part III with "count er-melodic"clusters of notes in achronological relation (temporal ellipsis)& Part IV a recapitulation of the preceding development throughpoints, lines & planes of sound concluding in a volumetrical-­sculptural relation.

The piece relies upon qualities of sound rather than melodicor easily identifiable structural characteritics.

Robert Rayher, august 1983.

WHALESO NG No. 1.

side;6ne,.-10 .•~

1. Lydian Lights' (~:~?) '.2. As theEarthWeep~:t'(4;40)*3. OntariO'(7:~;~two' ~1.,,')

4; Chrysolite (3:09)(waterscape, 2:22)

5. AGrad~aI Awakelling{lJ :qO) .' ... I

All pieces by Mychael Danna··>t:;iS~::.. '

* ~:~eT~;~~;i:~~mingUes'·;-'t~.fl·Recorded at Burlington. Dundas. Maple Leafallc;l.'Maynooth. Ontariobetween Jan. 1982 and Jan. 1983

. Thanks to: Dario Domingues. Rene. Clara and TbmClement. Gary Spearin. Dave Faber. Larry P()t~in,Dave Beare. '.-

To order: send S8/cassette to:

Summerland Music (address on back)include S1.00 for first copy (postage)

.50 for each additional copy

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In. tbis p.i-ece. I attempted to comp&:re two musical.elements: of. song i.n. nature;. the musi.c o;fr birda and thatof wh~es~ The music of birds. has. ias.ci.nated c0IIl:J.2-~sersthrougJtout histor;r. Birds do not comp.ose ~s s~c]br,.The;rmere1.Jr rep.e·at various: melodies and soU:nds. Wf'laJ.es'. howe,ver.~e the:onlyo mammal other than. man that ac.tuallt composesongs.: and constantly, modify. them in. Rerfo rmanc.e'.

The ov:era:-ll si.tuation.. of this~ piece occurs ip:. thetwo env.dronments· nati.ve to the reapective species. The'

J b,irds: in. the .forest are the first to b.ehe~d.As theY'sing their re:pertoire, each simulated birdc:ili:anges. ii;sfsong toareate a:, dense yet slowly· evolving soundscape.Other .sounds can he heard emulating the natural forestsounds such as streams; winds, leaves flying about, etc.The whole sotmdscape descends into an ocean, halfwaythrough. the piece,creating the whales' environment •

. The whales ~re then heard calling back and forthto eq9h other u~ing a miriad of sounds which define their~M~ .

.. Wlmlesong No.1 was realised at the Kaya Music Studio ...using a 'S;ynthi.' synthesizer, and at the Concordia Electro­Acoustic St'udio using an Aries Modular synthesiser, andcompleted in June 1982~

Dave Lind say

PAUSE SEVENTEEN Work continues on apace. While some will cook

hotdogs on the hibachis yonder, others will wander

afield. Not a poetical text for this time the words don't rhyme. A moment

to ponder. Live electronics follow.

STRING MOBILE (attached)

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 i~ 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)

FREE RUNN I NG CLOC KS (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 ~,4{~'

sequential elements moving a~ound the four channels. Thei~tate'(;)liK7cl?IJ;(. . ,~ ;'.,;C><.;~:~~:3~y~: ,,;/':';::' ':"':,i.,~

density change slowly. Attempts have been made through high frequengX:Tl9~:¢.. ,~,~;;,~.-_ .,~·':',::·.:r~":Jf:'~,:·::~.:·~~/-':;:f~- .;, ,. '~~"~.:~~'i;'.:-:

fil tering to produce the illusion that the sounds originate in a plane.'tn·~~~t~~,:P'·'.J.>: ..:'-:- .', ..

not that of the loudspeakers. Produced as the first of a series in the Conc6fdia

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

PAUSE EIGHTEEN

reading it as well,)

And just to think that tomorrow at this time, and

right here, you can be eating corn. (and perhaps

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

Birds and th~ sea are what it was. Interval

owH~.rship condos slurp up the waters that support the life of the south. (KA)

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FICHE TECHNIQUE

AGE: 27 ans

Composition soumise dans le cadre du concours "Thirty miles of Tape .Ilau departement de musique de l'Universite eoncordia, ~ontreal.

TITRE:

DUREE:

Pastiche

18 minutes et 20 secondes.

VITESSE: 7~ i.p.s.

MODE:

BOBINE:

Monophonique (~ piste stereo, droite)

7 pouces de diametre, a moyeu etroit.

INSTRUMENTS ACCOUSTIQUES: Glokenspiel, voix humaine.

MICROPHONE: Type cardioide unidirectionnel. (Realistic,33-1071)

~ INSTRUMENTS ELECTRONIQUES: Paia, 1550 Stings synthesizer.

Paia, modular synthesizer system.

MAGNETOPHONES: Akai, 4000 ds, (master recordingJ , open reel.

Toshiba, PT 862 D (as echo unit), open reel.

Revox Professionnal ( as human voice inverter), open reE

MELANGEURS: Realistic, 33-1057, two channel (two units)

PAIA MODULAR SYSTEM, MODULES USED: 2720 keyboard controller, 4780 se­

quencer controller, 2720-2A V.C.O., 2720-4 enveloppe generato~, 4740

A.D.g.R., 4720 V.C.O., 2720-1 V.C.A., 4710 V.C.A. , 2720-14 pulse width

modulator, 2720-5 L.F.O. and noise source, 47114in/2out mixer.

REVOX PROFESSIONNAL TAPE DECK: courtesy of CIGB-FM, Trois-Rivieres.

DUREE DU TRAVAIL DE REALISATION: Aproximativement 60 heures.

Compose et realise durant le mois de mars 1980 , par L.Gilles Lajoie •.

Edite pour ce coucours Ie 1er juillet 1983.

G-Whiz resulted from my first exposure to synthesizers duringthe summer of 19770 In order to gain some degree offamiliarity with the medium of electronic sounds in asshort a t:bneas possible I decided quite early on thatit would be best to avoid using the ARP 2600's keyboardin a pianistic or otherwise ltmusicalWwaY. : During thecomposition of this work I quite arbitrarily decided thatit would be based lttonallylt around the note G and thatI would use the keyboard only in so far as it was necessary

to tri~g~r sounds or events in the synthesiz'er and woulddo so by strik<ing any G' note - hence the title of the work.

(P. (.)

Musique electronique t piste. 19 cm/s. et 38 cm/s.Duree: 30 minutes

LUX n.m. (1922; mot lat. "lumi~re) Phys. Unite d'eclairement equivalenta l'eclairement d'une surface qui re~oit normalement et d'une mani~re

uniforme un flux lumineux de 1 lumen par m~tre carre.In Le ROBERT.

LUX est une oeuvre de musique electronique a caract~re repetitif at obses~\sionnel basee sur un rythme de 45 pulsations par minute.

Le th~me de l' oeuvre est la lumi~re; la lumi~re dans Ie sens de la sur­charge, la lumi~re lancinante, comme son intensite accablante dans Iedesert, sa chale~. La lumi~re electrique dans les villes; la lumi~reblafarde des neons qui agressent l'oeil contemporain.

Technique

2 compresseurs DBXBoite de reverberation AKGDelai numerique LEXICONFiltres (low pass, high pass, band pass)Egalisateur graphique liREISynthetiseur Yamaha CS-ISSynthetiseur Roland SH-IOOSynthetiseur numerique Casio VL-ToneGenerateur de sequences Roland~~gnetophone multipiste TEAC (master)I'~gnetophone t piste Revox (transferl)

Console techniqueSerge Franc;ois Lafortune

La pi~ce LUX a ete enregistree en fevrier et mars 1982 au studio de musi­que electronique de l'Universite du Quebec AMontreal (SJM.E.U.Q.A.M.).

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WALKING IN THE STREET< •

3 min. 30 sec. looF, electric guitar, keyJ:x)ardvoice and synthesiser. Originally made for l6rrmfilm. The piece might suggest a band of' rockette\'.allen beating down the street in.search of prettymen.

~'veryone t S Ta-lking a::t Once :March '81r-

In. a::. large gathering of people, otherwise known a'S:' a'l crowdor party., the gi~t of cornlntl11.ica-tions may be underatood by re spective:gartici]2auts:: a:lthough the individual f'ragments of' dialogue are notnways, fWITy retained due to the hEt2tardous env.ironment in whichlOud. music, noi:sy ne.aroy co.,nversations, J?hysical contacts:( duetothe release of' c.ertain. creativ.e energiea) a-=hound, and internal. s .s::t;imulus:. suchl as organic or chemical s..ubstance s alsQJ alter perceJ?tions.••••• espec.ia:ily if' the said c:onv.ersation is of no. interest ~

In. such instances, the mind tends to wander for a;. few moments.•These, precious; se.conds: c.an seem like hours tin a;:'.s:gace-time continuum.I cho'se to expand a-'. sJia--ee of one second between two words;; tonce I and! but I taken. .fro m. the paEsage I " I'm sOrry , I d idn't heaT yo U-_·;otQv.erFOne's ta:lking at once. But-;go on. ft The. dev.elopment of this spaceis: b:a-s:ed~.UQ.0n the tranquility: iilcongruent to the atmosphere of thetranquil£ty, as we-1-1 as thouglits. and thoughtfmrms pa-ssing throughat dii'ieren.t r8<tes:.. A. comb.iiJ.a-tion of known and unknown sounds'illustrcrtes the workings of {memory in any state Of' consciousness~ .Therefore if you hear footste'ps-; whistles, voices, push-button phones,and. airplanes, itt s all in your he~~ .\

Everyone's Talking at Once was rea-.J.ised a-t· the Kaya-L Music SoundStudio, Place,...Victoria, Metro Stai;ion, andthe Concordia~UniversityElectro-Acoustic Studio using a party of,4 voices, wine gla:sses,taI?e lo~s, an Aries modular synthesiser, at feW7~.gongs and severalmetera oi' Scotch 206 l/~" magnetic tape. This in1;erior voya-ge wascompleted in March: 198r. ~

Dave Lindsay

PF~ OG F~ (; ~., HE ~~ 0Tr:s ;r:: EHLIZ ED AT THE S+ F f U ¥ CEi·! TF.: E F0 f~ : j! r AF: TSEt ~ CT F~ nNJr ni !SIC STUnI nDUF{ING HA;:~CH /81 - j"'iARCH '83t PF.:IHtiF;Y SOUND ::'OU!=~:-;F IS A Sf:F~GE HDDH: .. ARSYNTHES I ZER M?IN I PULATfD BY THE U3U,;L PFF\~ I PHF~.:AL PF:GC~S:~ J UG Ent:! PHF r~ T;DIGITAL DELAY, 1/3 OCTAVE FJL.TFRS, COMP/1.I111TER/FXPANDFR FT~f A Si·1ALLAMOUNT OF RAW MATEF~IAt WAS GENFF~FfTED F;Y A Di~X-).000 srCNAl F'RGCE"S:;,NGCOr1FIJ TEF; WOF;;;: I NG WITH A liFe J. 1/?3 }.6 B,( T r;O;·ir-H TFF; lJ NDE R SOF TWAF~E Ii E;) EL OPE DBY BARRY TRUAX + THI ~~ Ii G\I TIS A r~ E Ut. T C· F HY [H·; Cr: J HG FA SCI NAT J en ~ W) THTHE LIMITING AND HANIPU~.ATtON OF ANDOH rONTROL PROCESSES AND THECF.:EATION OF DIFFEF;EHT ENl,.lIF.:ONi"IEHT USrHG SY1-~THFTIC s[nn·~n srn.;~:rFS+IN IT I HOPE TO EXF"RfSS NY LOU;: A n CONC~F"~?{ FG.R TH~S PLANET Al\:D rTSINHABITANTS.

MAF:TIH GOTFF:ITVANCOUVER JUNE 22 1933

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Programme NQtes of THE EVERLASTING VOICES

THE EVERLASTING VOICES is inspired by W.B. Yeats' poemof the same title. The "voices", which underwent diff-er~nt transformation throughout the piece, are simulatedby-human voices and synthesized and metallic sounds. Twocontrasting elements:the staccato repeated notes and thelegatosBptained "voices", are first introduced seperate­lYCind later combined at the climax after which the "voices"prevail and eventually diminish into eternity.

Th~ Everlasting Voicesby W. B. Yeats

~U~'QT everlasting Voices, be still;the gua.Jf4,~' of the, heavenly fold

theIn1'fCl~cl~8,(),peYing.,your Will,und~:t:'r~+~G~/ till Time be no more;

you~g;:e.~Ma.J:'cli\}hat our hearts are, old,youbiflT':in'<"j:)iJ:'clS, in wind on the hill,

A"+Jll,'.,ll,,,.I\.t::'ll boughs'illiide ontl1e~hore?everlasting Voices, be still.

is realized at the Electronic Music Studio of1979.

F. C•

TITREDUREE

.ETOILE EXIGUE

11 minutes

~>piste - stereo - 7! - tail out.

NOTE DE PROGRAMME.

CE COLLAGE SONORE EST FABRIQUE D'EXTRAITSD'IMPROVISATIONS COLLECTIVE. J'AI SUPERPO~E

ET MIXE CE MATERIEL SONORE EN STUDIO POURRECREER UN MATERIEL NOUVEAU QUI PAR SONENCHEVETREMENT TENTE DE DQMESTIQUER ET DECHANTER ~'EXPRESSION DE L'INATTENDU.

ONT PARTICIPES A LA PRODUCTION: CHARLES DEMESTRAL'\ '>,.,ROBIN MINARD.. -- SERGE FOISY

PIERRE DOSTIE

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COMPOSITION ET REALISATION PIERRE DOSTIE

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OT ' N ' UMID

Corn, korn, quorne, kworn, keworn, keeworn, kEaworn,

quEaworn, kweetaworn, korweetaworn, cortaweeteworn,

gortaweetaworm, gontaweetaworn, gontaeetaworn .. Gon Ta Eat A Corn .. plesase

Saturdaze - Like eh, layed-back whole·-toneIiJ.U:~i.l;man.

Yer know, eh, like jus' let 'it kinda' like

sit there. Yer knower .. The guitar players are like Real KOOL - man, ef, so

er, yer know - jus' let it be (heh-heh) yer know - like wow-man, jus' wha'dja';"." -. :";l.' ;\....

put inta that-there budder fer fer corn - eh? - like wow-man that's some real h~a;y,X:.:s.ri

STRING MOBILES (see attached)

. (KA)

\~AI T TOO ~ is the second of a series of works jn progress that were started in

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

c~PJex sound environment, as it undergoes various electronic processes. The

In'~iriprocessing device is the digital delay line. The performers continyeJn'~:.process of transformation in real time. {KAl·

PAUSE Wotmor ofda saeme?"'Knowaye! Naughtnow knotfoTver!

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The Beautiful Assistant John WellsDavid LindsayMay 5 083;; 7:]5

This strange nostalgic piece was first performed at Tangentein May '83 as part of a sound tape for 1124 Postcards of Rage: Part 111

by Tanya Mars &Rina Praticelli, a performance which explored theanxiety felt by women in relation to pornography and rape.

The treated guitar patterns by David LindsaY5 recorded oneSaturday'afternoon several months prior to performance 5 wereinterweaved &repeated with additional material bridging thetransi ti on poi nts-- transpos i ng di fferent qual i ti es upon each"of the successive segments. They are the realization points in the;fear of unrequited attraction'o The theme reveals the desires 5 dreamshope &longing of an individualo ~

,,,~eJl that is what it's supposed to beo Perhaps it's somethingentirely differento

'~Materials used were sustained guitar &effects 5 digital delays5Synthi AKS 5 Juno 6, and the whole thing was recorded and mixedat homeo

John Well s

';:F--=:-:-~"::;";;"::';';:~:;':::"''''='';;:'::''''''':::;'''-=."::..~=::':::''::::''='' was sed at the Music Gallery,Toronto, during 1979, on a small performance-type

esizer, the Buchla "Music Easel", and an 8-track

recorder. During the composition of the work;.J'I;'

erned with creating,wit.hin each individual st~~iYhrms which would e.xhibi"tUi hOmogeneous texture and a

single comp~sition~rf;\R~Oceps." ···-·""i":'" .._>":!

(('. T.)

"Quatre Images Sur Ie Nom de BACH"

"Quatre Images sur Ie Nom de Bach" is a setof four short pieces composed entirely on theBAtH motif. Thus the pitch content and orderingof all four movements is restricted to b, a,

J c, and b flat, a limitition which drove me to concentrateon the development of new rhythmic, dynamic, and timbralmeans to generate compositional variety and interest.

Each of the images is based on an algorithm utilisingthe power of the Synclavier 11 Script language'sbuilt in bracket looping features. These loops may benested, that is, it is possible for one or more loopsto lie within the compass of larger loops. By carefullyplanning these loop structures, the composer may createsonic sequences bf great l.ngth and complexity out of thesparsest of material. Thus one may explore that delicate balancebetween repetition and variety so critical to minimalistworks. With Quatre Images, 1 am making a statement aboutwhat I believe that balance to be.

Glendon DienerDecember, 1982

1

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(P. D.)

llU.l\.CLi;;,F, au

composee a partir

concsues par Ie

du Groupe SONDEE. P. A. E.

groupe Sonde. Nous avons

q~i ne comporte aucune U1aJIL~}/U~a~_LVH

de vitesse, etc .. ) mais qui

jouee en direct.

La prise de son a ete effectuee au

studio de musique electronique de l'univers

Ont participe a cettepi~ce: .

Pierre Dostie

Robin Minard

Charles De Mestral

Nous ~emercions Kevin Austin,

d'Audio-Visuel de l'

4B~rnI' 30 yvvi lM

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II.. A L..

Concord-Ia UNIVERSIT£ CONCORDIACONCORDIA UNIVERSIlY 'i

Electro-acoustic .:.: \

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- - n_ •• , !1983 12 septembre - ---;;:-' _~-"-~ . I

17 octobre salle I room AD-05 I7 novembre • pavillion Administration building5 decembre campus Loyola campus ,

1984 16 Janvier ~ ~~.. "universifeConcordlaUniversify ;13 fevrler .. 7141 o.rue Sherbrooke Sf. W. ~12 mars"- ~ Vendome +oufobus105

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CONCORDIAUNIVERSITY

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(GEC) (CECG)'. Groupe Electro- Concordiaacoustique de Electro-ac;:oustic

,Concordi,a Composers' Group

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FUGUE

A work for solo guitar and delays. A fugue of textures.Ascent, dispersal and the movement from complex to simpleis the overall gesture. The Coda is a gentle reminder ofthe beginning. (5. S.)

IF YOU DON'T LIKE MRS. GLASS' SON PHILIP'S MUSIC' THEN YOU WON'T LIKE THIS (Family

Games II)An adopted child - not in the direct family line as originally

conceived, but with (abnormally) adequate resemblance (similarity) to allow his

inclusion in the family album. About three and a half thousand notes, played in

12.9 equal steps to the octave. Tape and processing. (LA.)

SONG FOR VOICES KATHLEEN YEARWOOD

16 min.Begun and edited at Voice of the Turtle studio,Verdun.

Completed in the Loyola sound studio and AV room,August,

The bas1s/the bass note underlying this composition

vibrates at about 7 cps. All you can hear of it is the bias

on the tape which has been re-recorded and dropped down

to a perceivable level along with the original note-­

an A440 sung and miked with a contact microphone on the

throat.Sometimes this bass appears alone. Perhaps you can

feel it--at any rate it is different than silence.

A series of FACTS,usually complex events that began with

concrete sound processed in a number of ways,sometimes

only slowed dOWll,occurat intervals over the bass.

There exist whole realms of experience that are unavailable

to most of us because of the structure of our perceptive

organs--others are beyond us because we fail to imagine them.

The FACTS do not explain anything, they merely state their

ca~e.

BOG THE FROG SUITE A ritornello form. The introduction of

the main theme, the tune of a continuous

but highly textured natu~e, is followed by a quasi-soloistic section.

The sharply articulated sounds in the higher registers give way to the

full ensemble of section 3's ritorne1l6.Sec::tion 4 is a polyphonic

region, contrasting the .apparently random sounds, of the lower voices

with the more continous sound of the flying' ;~~~d; Ritornello. An

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

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

·be soloists, some sing out of tune. (A' rather amateur performance, and

some ~ays, sheepish.)Ritornello. The last episode was, of course,

nspired'bySteve Reichand or Philip Glass. A solid, and often quite

original performance in thjs section. (What. else,? -) Ritornello.

Our'thanks t'c> Andy the ranger - (a ranger?). Sounds synthesized in'

Ma Nat's own lab near Flamingo. Produced at MetaMusiQu~bec Son.- vi/83. (KA)

PAUSE TWENTY - ONE IVor dzarnt erythink. Sunan cornan zounzan

peeplan busesan hortogsan heatan relaksansitantanan only one more left in this series.

STRING MOBILE (see attached)

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

to is a sonic one, and the sounds produced by this

particular automated patch occassional1y have, a slightly humourous quality.

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. 01sec.

K.A.

WAITING FOR JAMES - subtitled JamesText I is the first of a series of

of works based upon the transformation of a text of

significant length, in this case, 256 words. The text was written with the

object of tne exploration of the long 'A' sound that is'a prominent feature of

the text. Parametric equalizers and digital delays are used to enhance the

formant frequencies of this phoneme. In the performance this weekend, the text

is performed live, (see attached), and after the initial reading, there is a

real-time interpretation of the sonic quality of the words, based upon selection

of blocks of text, rhyming possibilities, phonemic groups, forwards and backwards

reading, and various levels of random selection. This is all currently being

programmed into a micro-computer, and later performances of this work will have

the text displayed on a monitor screen, and the sequence of the words, after the

initial reading, determined by the computer algorithm. (LA.)

PAUSE TWENTY"'" THREE gives pause for thought, thanks, and 'hopes of

well being. A little appreciation of the sun,

the summer and the corn. A slight respite from the surrounding sounding

music. But the music is of the forever, we of the now and passing through.

MI HOMO by Wendy Bartley

Mi Homo was composed in the studios at the Royal Conservatory of Musicin Toronto, 1981. Using simple techniques, concrete sources"and a bankof twelve oscill~tors, the work has a direct, almost primitive appeal.

It is more than a plea for equfflity among men and women; rather it cap­ture~ the inner anguish felt by many women when 6onfronted with thepainful reality that is their history. Quotations from the early churchfathers up to the contemporary Marabel Morgan speak to us all of how wehave denied full humanity to one of the glories of creation.

Wendy Bartley is a master's student in composition at McGill University.She is currently working on a series of pieces which give musical lifeand shape to the stories and experiences of women.

WAITING FOR JAMES - subtitled JamesText I is the first of a series of

of works based upon the transformation of a text of

significant length, in this case, 256 words. The text was written with the

object of the exploration of the long 'A' sound that is a prominent feature of

the text. Parametric equalizers and digital delays are used to enhance the

formant frequencies of this phoneme. In the performance this weekend, the text

is performed live, (see attached), and after the initial reading, there is a

real-time interpretation of the sonic quality of the words, based upon selection

of blocks of text, rhyming possibilities, phonemic groups, forwards and backwards

reading, and various levels of random selection. This is all currently being

programmed into a micro-computer, and later performances of this work will have

the text displayed on a monitor screen, and the sequence of the words, after the

initial reading, determined by the computer algorithm. (K.A.)

PAUSE TWENTY - THREE gives pause for· thought, thanks, and hopes of

well being. A little appreciation of the sun,

the summer and the corn. A slight respite from the surrounding sounding

music. But the music is of the forever, we of the now and passing through.

MI HOMO by Wendy Bartley

Mi Homo was composed in the studios at the Royal Conservatory of Musicin Toronto, 1981. Using simple techniques, concrete sources and a bankof twelve oscillators, the work has a direct, almost primitive appeal.

It is more than a plea for equality among men and women; rather it cap­tures the inner anguish felt by many women when confronted with thepainful reality that is their history. Quotations from the early churchfathers up to the contemporary Marabel Morgan speak to us all of how wehave denied full humanity to one of the glories of creation.

Wendy Bartley is a master's student in composition at McGill University.She is currently working on a series of pieces which give musical lifeand shape to the stories and experiences of women.

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.YER-PAN YUERman ' meaning "nocturne'" .,. y poems set to a tradit. ' lS orlglnally one oflS now lost but the poem lo?al Chinese melody. The melodbeen treasured Th ' wrltten in the 12th ct' ysees on his trip ~ ~~em de~cribes what a trave~~i~ry, hasremind him of his b I e capltal and how the viII g ~oetvoic . e oved. The co age gnlsof t~ and electronic solinds ho mp~ser, by means of humanthou e poemnthe mood, the ~tnio;es 0 capture the essence

ghts of the travelling P9~~~~here, the scenery, and the

""'i~;~~,}.:

The work' . . ";;Ind' l~ reallzed at the Electroniclana Unlversity in 1978. Music Studio at

F. C.

someone

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and we did not sleepdecided 'to make

the radiow .'. . '. . ennon

e heard the news that .'. ....•....;..... ..' .~verIlng onWlth a gun had ·sh.().t·j~hn· L ..'th .~'. .ennon

at night" A', h· .~.-:'_".' sort tlme later Ithls piece. .

08 Dec. 1980 - in memoriam John L

I If10 .

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

".5. E. Scape SUN Started in August 1982, this is one layer of a much-larger work of the general title Sea Scap~. "Sun" was

composed using twelve desteuding oscillators, multiply recorded, producing

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.

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