electrocd

Track listing detail

Style de bougalou

Michel A Smith

  • Year of composition: 1990
  • Duration: 3:02
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T0705063484

Stereo

ISRC CAD509612770

  • 44,1 kHz, 16 bits

As in those games where one has to find the differences between two almost similar drawings, Style de bougalou (Bougalou-like) can be compared to traditional and popular music pieces, however…

Michel A Smith [xi-90]


This piece was realized at the studio Phlizz in Montréal in July, 1990. Thanks to Pascale Malaterre (sampled voice).

Premiere

  • November 2, 1990, Montréal musiques actuelles / New Music America, Acousmonium: Concert 6: Électro clips, Théâtre Les Loges, Montréal (Québec)

Composition

  • 1990-07, Phlizz, Montréal (Québec)

Scores

  • [November 1992]
    Style de bougalou (1990, 3:02) by Michel A Smith

Somewhere between

Craig Harris

  • Year of composition: 1990
  • Duration: 3:01
  • Instrumentation: stereo fixed medium
  • Publisher(s): Yul média
  • ISWC: T9039788302

Stereo

ISRC CAD509612780

  • 44,1 kHz, 16 bits

Somewhere Between presents a collection of windows into different but connected sound worlds. In this composition, all sounds are derived from recorded piano sounds. The material is treated as if it were played on an instrument on which all imaginable attack sounds, harmonic activity, room resonance, and sound processing can be performed with the ease and subtle nuance that is available on a traditional piano.

Craig Harris [xi-90]


Premiere

  • November 2, 1990, Montréal musiques actuelles / New Music America, Acousmonium: Concert 6: Électro clips, Théâtre Les Loges, Montréal (Québec)

Composition

Scores

  • [November 1992]
    Somewhere between (1990, 3:01) by Craig Harris

Point-virgule

Jean-François Denis

  • Year of composition: 1990
  • Duration: 3:00
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: empreintes DIGITALes
  • ISWC: T0702921138

Stereo

ISRC CAD509612790

  • 44,1 kHz, 16 bits

The sound material was sculpted by sampling (thanks to Philippe Moënne-Loccoz) and then tamed and articulated on the keyboard in the studio. Point-virgule [Semicolon] is developed through five approaches, enunciated one after the other, and concludes with an exclamation point.

Jean-François Denis [xi-90]


Point-virgule was realized in July, 1990 at the studio of Collectif & Cie (Annecy, France), with the collaboration of Bernard Donzel-Gargand while mixing, with support from the Canada Council for the Arts (CCA) and of the French Government.

Premiere

  • November 2, 1990, Montréal musiques actuelles / New Music America, Acousmonium: Concert 6: Électro clips, Théâtre Les Loges, Montréal (Québec)

Composition

Scores

Bell Speeds

John Oswald

  • Year of composition: 1983, 90
  • Duration: 3:00
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: empreintes DIGITALes
  • ISWC: T0704775381

Stereo

ISRC CAD509612800

  • 44,1 kHz, 16 bits

Bell Speeds: the pealing of a bell the size of a pea, heard in eight octaves.

John Oswald [xi-90]


Premiere

  • November 2, 1990, Montréal musiques actuelles / New Music America, Acousmonium: Concert 6: Électro clips, Théâtre Les Loges, Montréal (Québec)

Composition

Scores

  • [November 1992]
    Bell Speeds (1983, 90, 3:00) by John Oswald

Mi bémol

Yves Daoust

  • Year of composition: 1990
  • Duration: 2:59
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: empreintes DIGITALes
  • ISWC: T0715193206

Stereo

ISRC CAD509612810

  • 44,1 kHz, 16 bits

Around a small tonal object named Mi bémol [E-flat] developed into a drone used as a thread in this piece, I have brought together some of my ‘fetish’ sounds. A stereotypical form emerged, a hyper-condensation of my style, of my articulation and construction processes: confrontation of widely different sound elements, a preference for the anecdotal, the crossfading of textures, oscillation between the musical discourse and the documentary approach. Mixtures of levels, polyphony of sounds and of meanings. A pastiche where I attempt to imitate myself…

Yves Daoust [xi-90]


Premiere

  • November 2, 1990, Montréal musiques actuelles / New Music America, Acousmonium: Concert 6: Électro clips, Théâtre Les Loges, Montréal (Québec)

Composition

Scores

  • [November 1992]
    Mi bémol (1990, 2:59) by Yves Daoust

Les oiseaux de Bullion

Claude Schryer

  • Year of composition: 1990
  • Duration: 3:02
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T0704763712

Stereo

ISRC CAD509612820

  • 44,1 kHz, 16 bits

Les oiseaux de Bullion [de Bullion’s Birds] is an ecological sound diptych inspired by the concept of sound pollution and the rediscovery of a quality of “clear listening” proposed by the World Soundscape Project. In this clip, I have resisted ‘processing’ the material aside from the equalization, editing and mixing of natural sounds. I have explored the ‘sonic imprint’ of my immediate living environment: ‘songs’ from finches-in-a-cage accompanied by trucks from Waldman fish store in Montréal and a ‘song’ from a train reverberating in the Bow Valley in Banff National Park (Alberta).

Claude Schryer [xi-90]


Premiere

  • November 2, 1990, Montréal musiques actuelles / New Music America, Acousmonium: Concert 6: Électro clips, Théâtre Les Loges, Montréal (Québec)

Composition

Scores

  • [November 1992]
    Les oiseaux de Bullion (1990, 3:02) by Claude Schryer

The Machine’s Four Humours

Martin Gotfrit

  • Year of composition: 1990
  • Duration: 3:00
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T0704770911

Stereo

ISRC CAD509612830

  • 44,1 kHz, 16 bits

The machine’s four cardinal humours might be silence, radiation, momentum and magnetism. Silence is manifest as sudden change or stillness (“Off”), radiation as vibration, particularly sound and light (“Time”), momentum as the predictable repetition of the oscillator (“On”), and magnetism as an invisible force which, in the case of many machines, is memory. Any tonality present in The Machine’s Four Humours is derived from the machine or based upon 144,72 Hz, the fundamental of Mars (ancient, still machines).

Martin Gotfrit [xi-90]


Premiere

  • November 2, 1990, Montréal musiques actuelles / New Music America, Acousmonium: Concert 6: Électro clips, Théâtre Les Loges, Montréal (Québec)

Composition

Scores

  • [November 1992]
    The Machine’s Four Humours (1990, 3:00) by Martin Gotfrit

Marimba Dismembered

John Oliver

  • Year of composition: 1990
  • Duration: 3:00
  • Instrumentation: stereo fixed medium
  • Publisher(s): Yul média
  • Commission: empreintes DIGITALes
  • ISWC: T0704956819

Stereo

ISRC CAD509612840

  • 44,1 kHz, 16 bits

A dirge for Guatemala’s national instrument; a cry for an end to the genocide of the Mayan people.

John Oliver [xi-90]


Marimba Dismembered was mixed at the Music Gallery (Toronto, Ontario) in August, 1990.

Premiere

  • November 2, 1990, Montréal musiques actuelles / New Music America, Acousmonium: Concert 6: Électro clips, Théâtre Les Loges, Montréal (Québec)

Composition

Mixing

Scores

  • [November 1992]
    Marimba Dismembered (1990, 3:00) by John Oliver

Skweeit-Chupp

Zack Settel

  • Year of composition: 1990
  • Duration: 2:58
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média

Stereo

ISRC CAD509612850

  • 44,1 kHz, 16 bits

The sound material in Skweeit-Chupp includes synthetic and acoustic sounds (voice and percussion). From pitch and envelope analysis, control signals are derived for FM synthesis and signal processing. This system allows for a given input signal to modify itself in terms of its processing and synthetic accompaniment.

Zack Settel [xi-90]


It was realized at IRCAM (Paris, France) in the summer of 1990.

Premiere

  • November 2, 1990, Montréal musiques actuelles / New Music America, Acousmonium: Concert 6: Électro clips, Théâtre Les Loges, Montréal (Québec)

Composition

  • 1990-06 – 1990-08, Ircam, Paris (France)

Scores

  • [November 1992]
    Skweeit-Chupp (1990, 2:58) by Zack Settel

Résonances d’arabesques

Stéphane Roy

  • Year of composition: 1990
  • Duration: 3:02
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T0710527642

Stereo

ISRC CAD509612860

  • 44,1 kHz, 16 bits

This “implacable” three minutes is a pointillism of variegated shades, of sinuous melodic contours accompanied by a nervous hiccough in the low register. An ephemeral landscape punctuated by fragile and unpredictable arabesques, anxious about their existence before an inevitable end.

Stéphane Roy [xi-90]


Résonances d’arabesques was realized with the Syter digital interactive system at the <GRM and was constructed at the studio Ondes (Montréal, Québec). This piece was realized with the assistance of the ministère des Affaires culturelles du Québec.

Premiere

  • November 2, 1990, Montréal musiques actuelles / New Music America, Acousmonium: Concert 6: Électro clips, Théâtre Les Loges, Montréal (Québec)

Preparation

Composition

  • 1990, Ondes, Montréal (Québec)

Scores

  • [November 1992]
    Résonances d’arabesques (1990, 3:02) by Stéphane Roy

What If

Daniel Scheidt

  • Year of composition: 1990
  • Duration: 2:59
  • Instrumentation: stereo fixed medium
  • Publisher(s): Yul média
  • ISWC: T0705103418

Stereo

ISRC CAD509612870

  • 44,1 kHz, 16 bits

An interactive music software originally designed to interact with input from a live performer is instead made to ‘listen’ to itself. A chaotic musical feedback loop results as the system attempts to respond to its own output.

Daniel Scheidt [xi-90]


What If was realized at the Luscar Studio of The Banff Centre for the Arts (Banff, Alberta) in August, 1990.

Premiere

  • November 2, 1990, Montréal musiques actuelles / New Music America, Acousmonium: Concert 6: Électro clips, Théâtre Les Loges, Montréal (Québec)

Composition

Scores

  • [November 1992]
    What If (1990, 2:59) by Daniel Scheidt

Humoresque 901534

Bruno Degazio

  • Year of composition: 1990
  • Duration: 3:01
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T0707513436

Stereo

ISRC CAD509612880

  • 44,1 kHz, 16 bits

In fractal geometry there exists a particular formula, the ‘logistic equation,’ which produces wonderful chaotic patterns whose character can be changed dramatically by varying a value called lambda. I discovered this piece in the region between lambda = 0,9 and 0,901534, hence the title. The notes, rhythms and overall structure were determined entirely by the equation which is audible through changes in dynamics and orchestration.

Bruno Degazio [xi-90]


Premiere

  • November 2, 1990, Montréal musiques actuelles / New Music America, Acousmonium: Concert 6: Électro clips, Théâtre Les Loges, Montréal (Québec)

Composition

Scores

  • [November 1992]
    Humoresque 901534 (1990, 3:01) by Bruno Degazio

Simulant

Richard Truhlar

  • Year of composition: 1990
  • Duration: 2:56
  • Instrumentation: stereo fixed medium
  • Publisher(s): Yul média
  • ISWC: T0705103816

Stereo

ISRC CAD509612890

  • 44,1 kHz, 16 bits

Inspired by Jean Baudrillard’s thoughts on the hyperreal, Simulant [a neologism made from the words “assimilate” and “simulate”] is a short, dense demonstrative model which acts as a self-referential simulacrum: an image or semblance of itself. Like two mirrors facing each other, the reflection is endless, the image emptied of referent. This perception of the work suits the medium: electricity has been synthetically reproduced to masquerade as sound. The referent (acoustic sound) has been evaded.

Richard Truhlar [xi-90]


Composed in March, 1990.

Premiere

  • November 2, 1990, Montréal musiques actuelles / New Music America, Acousmonium: Concert 6: Électro clips, Théâtre Les Loges, Montréal (Québec)

Composition

Scores

  • [November 1992]
    Simulant (1990, 2:56) by Richard Truhlar

Associations libres

Gilles Gobeil

  • Year of composition: 1990
  • Duration: 3:00
  • Instrumentation: electric guitar and stereo fixed medium
  • Publisher(s): Yul média
  • Commission: René Lussier, with support from the CCA , empreintes DIGITALes
  • ISWC: T0702933081

Stereo

ISRC CAD509612900

  • 44,1 kHz, 16 bits

This piece was born of the desire after fifteen years, to collaborate with the guitarist René Lussier. Using his talent for improvisation, I have employed the wide variety of timbres and sound matter from his interpretation. The tape consists of a succession of very dense and expressive scenes onto which the guitar’s living and playful gestures are placed.

Gilles Gobeil [xi-90]


Associations libres [Free Associations], a commission by René Lussier with support from the Canada Council [for the Arts] (CCA), was realized at the studio Ondes in Montréal in July, 1990.

Premiere

  • November 2, 1990, Montréal musiques actuelles / New Music America, Acousmonium: Concert 6: Électro clips, Théâtre Les Loges, Montréal (Québec)
  • March 7, 2015, Mixed version premiere: Patrice Soletti, electric guitar; Julien Guillamat, diffusion • Figures du siècle, Salle Pasteur — Le Corum, Montpellier (Hérault, France)

Awards

Composition

  • 1990-07, Ondes, Montréal (Québec)

About this recording

Version remixed in 1994.

Remixing

  • 1994, Montréal (Québec)

Scores

  • [November 1992]
    Associations libres (1990, 3:00) by Gilles Gobeil

Bédé

Robert Normandeau

  • Year of composition: 1990
  • Duration: 3:01
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: empreintes DIGITALes
  • ISWC: T0715200331

Stereo

ISRC CAD509411000

  • 44,1 kHz, 16 bits

To my parents

This miniature was realized from sounds (onomatopoeias) used in comic books traditionally associated with the world of children. The piece is divided in three sections: Le monde de l’enfance (Child’s World), La vallée des fantômes (Phantoms’ Valley), and La quête de la voix (Search of the Voice). The voice of 11 year old Marie-Hélène Blain is the single sound element of the piece.

Robert Normandeau [xi-90]


Bédé — a pun on the abbreviation of “bande dessinée” (comic book) — was realized in my studio, the studio of the Faculty of Music of the Université de Montréal and the studio of the Ina-GRM with support from the Canada Council [for the Arts] (CCA).

Premiere

  • November 2, 1990, Montréal musiques actuelles / New Music America, Acousmonium: Concert 6: Électro clips, Théâtre Les Loges, Montréal (Québec)

Composition

About this recording

This version is a stereophonic recording of multichannel sound diffusion realized at The Banff Centre for the Arts (engineers: Antonio Oliart and Stephanie Rogers; assistant: Jennifer Lewis) in July, 1993.

Recording

Scores

  • [November 1992]
    Bédé (1990, 3:01) by Robert Normandeau

Landlocked

Laurie Radford

  • Year of composition: 1990
  • Duration: 3:01
  • Instrumentation: stereo fixed medium
  • Publisher(s): Yul média
  • ISWC: T0705077902

Stereo

ISRC CAD509612920

  • 44,1 kHz, 16 bits

From the center of a vast continent, land stretching out endlessly in every direction, the waves and depths appear both menacing and enticing… an inexplicable fear of things submerged… of what lies below the surface… the water lies so far away… or so it seems…

Laurie Radford [xi-90]


Landlocked was created using the Synclavier II at McGill University and the UPIC system (designed by Iannis Xenakis) at Les Ateliers UPIC (known as CCMIX since 2000) in Paris. The work was subsequently mixed at McGill University in July of 1990.

Premiere

  • November 2, 1990, Montréal musiques actuelles / New Music America, Acousmonium: Concert 6: Électro clips, Théâtre Les Loges, Montréal (Québec)

Preparation

Composition

Scores

  • [November 1992]
    Landlocked (1990, 3:01) by Laurie Radford

Prochaine station

Christian Calon, Claude Schryer

  • Year of composition: 1990
  • Duration: 3:02
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média / Yul média
  • ISWC: T0704781907

Stereo

ISRC CAD509612930

  • 44,1 kHz, 16 bits

Prochaine station [Next Station] is a sound journey through Montréal.

[ix-90]


Prochaine station was realized in Christian Calon’s studio in August, 1990.

Premiere

  • November 2, 1990, Montréal musiques actuelles / New Music America, Acousmonium: Concert 6: Électro clips, Théâtre Les Loges, Montréal (Québec)

Composition

Scores

  • [November 1992]
    Prochaine station (1990, 3:02) by Christian Calon, Claude Schryer

Breathing Room

Hildegard Westerkamp

  • Year of composition: 1990
  • Duration: 3:04
  • Instrumentation: stereo fixed medium
  • Publisher(s): Yul média
  • ISWC: T0704787949

Stereo

ISRC CAD509612940

  • 44,1 kHz, 16 bits

This is the second in a series of Breathing Room pieces. Music as breath-like nourishment. Breathing as nourishing musical space. The breath — my breath — is heard throughout the three minutes. All sorts of musical/acoustic things happen as I breathe in and out. Each breath makes its own, unique statement, creates a specific place in time. Meanwhile the heart beats on, propelling time from one breath to the next.

Hildegard Westerkamp [xi-90]


Premiere

  • November 2, 1990, Montréal musiques actuelles / New Music America, Acousmonium: Concert 6: Électro clips, Théâtre Les Loges, Montréal (Québec)

Composition

Scores

  • [November 1992]
    Breathing Room (1990, 3:04) by Hildegard Westerkamp

Man-Bridge

Amnon Wolman

  • Year of composition: 1990
  • Duration: 3:01
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T0718932650

Stereo

ISRC CAD509612950

  • 44,1 kHz, 16 bits

The word ‘homeless’ is either misleading or a deliberate political lie. It implies that not having a physical space made of wood and brick means not having a home. It implies that not having a mailing address means that one does not exist.

Amnon Wolman [xi-90]


Man-Bridge is a short version of The day the bank came through created in part at CCRMA (Stanford University, California, USA) and in part at NCM (Northwestern University, Illinois, USA).

Premiere

  • November 2, 1990, Montréal musiques actuelles / New Music America, Acousmonium: Concert 6: Électro clips, Théâtre Les Loges, Montréal (Québec)

Composition

Remixing

Scores

  • [November 1992]
    Man-Bridge (1990, 3:01) by Amnon Wolman

Qui est là?

Francis Dhomont

  • Year of composition: 1990
  • Duration: 3:03
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: empreintes DIGITALes
  • ISWC: T9247704252

Stereo

ISRC CAD509612960

  • 44,1 kHz, 16 bits

To myself

This is like a children’s guessing game, with its tracks that branch out in strange ways, its tangled paths, its purposely distorted ambiguities, and its conscious efforts to confuse: a labyrinth. The objective is to work through all of this and figure out who is hiding. But this game is for adults.

Behind these fragments — drawn from the musical discourse of ten works and then reconstructed into a three-minute evocation of a decade — the voice makes itself heard only to disappear again, evident only long enough to remind us that the person who is hiding will remain hidden forever.

Qui est là? (Who’s There?) was a milestone work even back in 1990, a “hyperspace fly-over” of the work of the ten years between 1979 and 1989: Mais laisserons-nous mourir Arianna? (1979), Sous le regard d’un soleil noir (1981), Points de fuite (1982), … mourir un peu (1984), Drôles d’oiseaux (1985), Signé Dionysos (1986), Chiaroscuro (1987), Chroniques de la lumière (1989), Novars (1989), and Espace / Escape (1989).

Francis Dhomont, November 1990 [English translation: Tom Carter, vii-02]


Qui est là? was realized at the composer’s studio in 1990 and premiered on 2 November 1990 during the Acousmonium concerts of the Montréal musiques actuelles / New Music America festival. Qui est là? was commissioned by empreintes DIGITALes.

Premiere

  • November 2, 1990, Montréal musiques actuelles / New Music America, Acousmonium: Concert 6: Électro clips, Théâtre Les Loges, Montréal (Québec)

Composition

Scores

  • [November 1992]
    Qui est là? (1990, 3:03) by Francis Dhomont

Minisérie

Roxanne Turcotte

  • Year of composition: 1990
  • Duration: 3:05
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T0703062558

Stereo

ISRC CAD509612970

  • 44,1 kHz, 16 bits

Three short scenarios without words, without images. The sound environment of a chase through different aspects of Hitchcock’s universe; the colorful flavor of Spielberg’s films; a cinematographic construction for the ears… and the imagination. Full of terror, this sonic tale unveils a macabre story in amusing ways, characterized by quick changes of perspective in the three dimensional music.

Roxanne Turcotte [xi-90]


Minisérie was realized at the studio Séducson in Montréal in July, 1990 with the assistance of the ministère des Affaires culturelles du Québec.

Premiere

  • November 2, 1990, Montréal musiques actuelles / New Music America, Acousmonium: Concert 6: Électro clips, Théâtre Les Loges, Montréal (Québec)

Composition

Scores

  • [November 1992]
    Minisérie (1990, 3:05) by Roxanne Turcotte

Temps incertains

Christian Calon

  • Year of composition: 1990
  • Duration: 3:02
  • Instrumentation: stereo fixed medium
  • Publisher(s): Yul média
  • ISWC: T0705101081

Stereo

ISRC CAD509612980

  • 44,1 kHz, 16 bits

There are fascinating perspectives for today’s artists in the deciphering of the new shapes undertaken by this large secular movement towards cultural universalism. Against all appearances a new path seems to emerge that goes not through the elimination and erasing of differences but instead through the recognition and affirmation of local and individual particularities. Could it be that the matter of societies is similar to the matter of sound? Logic of destiny or temporary slip of fate? Temps incertains [Unsettled Times].

Christian Calon [xi-90]


Premiere

  • November 2, 1990, Montréal musiques actuelles / New Music America, Acousmonium: Concert 6: Électro clips, Théâtre Les Loges, Montréal (Québec)

Composition

Scores

  • [November 1992]
    Temps incertains (1990, 3:02) by Christian Calon

I’m looking at my hand

Dan Lander

  • Year of composition: 1990
  • Duration: 3:01
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T0703113329

Stereo

ISRC CAD509612990

  • 44,1 kHz, 16 bits

I’m Looking at my Hand was made at home.

Premiere

  • November 2, 1990, Montréal musiques actuelles / New Music America, Acousmonium: Concert 6: Électro clips, Théâtre Les Loges, Montréal (Québec)

Composition

Scores

  • [November 1992]
    I’m looking at my hand (1990, 3:01) by Dan Lander

Mambo à la Braque

Javier Álvarez

  • Year of composition: 1990
  • Duration: 3:02
  • Instrumentation: stereo fixed medium
  • Publisher(s): Yul média
  • Commission: empreintes DIGITALes
  • ISWC: T0103334184

Stereo

ISRC CAD509613000

  • 44,1 kHz, 16 bits

Like words made out of cutting letters from a newspaper, I have used in Mambo à la Braque [Braque-style Mambo] short musical segments which come from the well known mambo Caballo Negro by composer Dámaso Pérez Prado to whom this short piece pays homage. I have reassembled them into a sound mosaic and used a few other sounds to ‘glue’ them together. My aim was to create a sort of cubist music, or put in other words, a mambo of my own invention made out of mambo cuttings.

Javier Álvarez [xi-90]


Premiere

  • November 2, 1990, Montréal musiques actuelles / New Music America, Acousmonium: Concert 6: Électro clips, Théâtre Les Loges, Montréal (Québec)

Composition

Scores

  • [November 1992]
    Mambo à la Braque (1990, 3:02) by Javier Álvarez

Bajanoom

Charles Amirkhanian

  • Year of composition: 1990
  • Duration: 3:00
  • Instrumentation: stereo fixed medium
  • Publisher(s): Yul média
  • ISWC: T9247875429

Stereo

ISRC CAD509613010

  • 44,1 kHz, 16 bits

The somber mood of Bajanoom (separation, in Armenian) is a mirror of the composer’s own mood in light of the many nationalist movements, from Montréal (Québec) to Yerevan (Armenia), which have surfaced recently after many years of frustration and bitterness.

Charles Amirkhanian [xi-90]


Gong sounds sampled at the home of Lou Harrison are combined with the sounds of a musical saw, coffee grinder, guitar, and strings, all manipulated with the Synclavier instrument at the studio of Henry Kaiser, and with his assistance in Oakland (California, USA) in July, 1990.

Premiere

  • November 2, 1990, Montréal musiques actuelles / New Music America, Acousmonium: Concert 6: Électro clips, Théâtre Les Loges, Montréal (Québec)

Preparation

Composition

Scores

  • [November 1992]
    Bajanoom (1990, 3:00) by Charles Amirkhanian