Track listing detail

Static Gestures II (Formant Pulses)

Kevin Austin

  • Year of composition: 1987
  • Duration: 10:00


This oxymoronicaly titled algorithmic piece was created in the studio of the University of Saskatchewan in Saskatoon in the fall of 1987 with an old EMS Synthi 100. When played over a multi-speaker system, the basic complexity of the spectrum of the signal creates the illusion of movement, and the sound splitting apart.

Zirkus Zirkus

David Berezan

  • Year of composition: 1996
  • Duration: 3:01
  • Instrumentation: fixed medium


The wonder and ‘other worldliness’ of the travelling circus and carnival as seen through a child’s eyes. That is essentially what I wanted to capture in this textural composition, and the music presents a playful examination of the awe, fear, and ever changing experience of childhood sensations and awareness.

Tape Measure

Steve Bradley

  • Year of composition: 1996
  • Duration: 5:27


Tape Measure was created using a quarter-inch metal tape measure that I altered by soldering a small sewing needle to the tip. Then I pulled the steel quarter inch tape out approximately 15 inches and positioned the end with the needle onto an LP record which was placed on a record player. I played an old classical music LP Rigoletto-Questa o quella, which is barely audible or distinguishable.

La trace du souffle

Rémy Carré

  • Year of composition: 1989-96
  • Duration: 9:26


From the Bull of Lascaux’s Caves to Joseph Beuys’ Coyote, the breath of the animal remains the sign of life, the sign of a vital force which also brings us to life. La trace du Souffle is a composition where the grain of the digital “sound machine” bears the energy of the breath. Whatever the tool or the instrument that is shaping the sound material, we will always keep in mind this animal presence. Commissioned by GMVL in 1989, adapted for publication in 1996.

El peregrinar de la araña

Martín Alejandro Fumarola

  • Year of composition: 1995
  • Duration: 4:10


El peregrinar de la araña means the traveling of the spider. The conception of the piece is based on a typical navigation through the World Wide Web of the Internet. The composition was produced at the Laboratorio de Música Electroacústica of the National University of Cõrdoba (Argentina) in 1995.

Magic is Chance

Martin Gotfrit

  • Year of composition: 1995
  • Duration: 4:12


This is the second in a series of three pieces which explore music from the perspective of the machine. In thinking about the meaning of magic in my own life, I imagine that for the machine it is only chance elements (random numbers, component failures) which may conjure up the miraculous.


James Harley

  • Year of composition: 1985-86
  • Duration: 14:45
  • Instrumentation: 4-channel fixed medium


The piece takes inspiration from a fragment of Savitri by Sri Aurobindo: “A maenad of the cycles of desire / Around a Light she must not dare to touch…”

Voyage was realized on the UPIC computer music system at CEMAMu (known as CCMIX since 2000) in Paris (France), with the 4-channel mixing was carried out at the Experimental Studio of Polish Radio in Warsaw (Ewa Guziolek, sound engineer). Voyage was premiered at the International Computer Music Conference ICMC in Gothenburg (Sweden), and received Honorable Mentions at Bourges and Ars Electronica in 1987.




Where was I… ?

Bentley Jarvis

  • Year of composition: 1995
  • Duration: 10:30


Where was I…? is a work about interrupted trains of thought, imperfect memories, and deja-vu.


Jan Järvlepp

  • Year of composition: 1977
  • Duration: 14:12
  • Instrumentation: 4-channel fixed medium


Buoyancy was composed at the McGill University EMS using acoustic cello sounds exclusively. These were modified by speed changes, tape echo, layering, pitch to voltage conversion, ring modulation and filtering. White noise was produced by recording the highly amplified sound of the bow moving lightly on a string.


  • April 27, 1977, Concert, Salle Pollack — Pavillon Strathcona — Université McGill, Montréal (Québec)


Monique Jean

  • Year of composition: 1995
  • Duration: 2:06
  • Instrumentation: stereo fixed medium


Based on a found object-phrase, IF articulates in its form the paradoxical alloy of the spontaneity of the gesture — the voice — of the urban tag and time deceleration in contact with engraved writings behind closed doors.

Tous azimuts

Frédéric Kahn

  • Year of composition: 1996
  • Duration: 2:52


Tous Azimuts is a contemplative piece, sound atmospheres follow one another, guided by the voices. A tribute to children, to their spontaneity, their freedom in play, the piece keeps in memory the concern for expressing certain psychological states which hide, beyond, as a presence.

Squeaky Chair

Christopher K Koenigsberg

  • Year of composition: 1993
  • Duration: 11:25


Soundtrack to Megan Nicely’s dance video, Michael and Jim Don’t Live Here Anymore. Actual performances on a magnificently squeaky chair. A bit of breathing and Yun Wang’s poetry in the background, at one point. I humbly acknowledge the influence of Pierre Henry’s classic Variations pour une Porte et un Soupir.

Cetacean Progress

David Lindsay

  • Year of composition: 1996
  • Duration: 3:09


Cetacean Progress is an excerpt from a live performance using a pitch-to-MIDI system for electric guitar, sound processing and two Yamaha FB-01 FM sound generators. This piece illustrates my interest in marrying the intensity and liquidity of processed electric guitar sounds with synthesized and sampled sounds in order to capture an electroacoustic wail. ;-)

Swimming the Reef (For Patrick)

Andra McCartney

  • Year of composition: 1990-96
  • Duration: 5:43
  • ISWC: T0704812612


Beneath the waves, I heard my breathing, heartbeat, pounding surf. The beautiful fish and coral were beyond my ears. This piece transforms their spoken names — tomtate, angelfish, barracuda, fan, brain- to mimic their movements, forms, and colors. Surf recorded at Palmiste, Grenada; All Soul’s Day, 1990.


Diana McIntosh

  • Year of composition: 1993
  • Duration: 5:37


This excerpt from Processions, by Diana McIntosh, for piano and two digital delays, is part of Murkings, a dramatic multimedia piece for text, piano, electronics and visuals. It concerns our relationship with the environment, particularly the on-going pollution of the Great Lakes. This performance is by the composer.


Scott Morgan

  • Year of composition: 1996
  • Duration: 3:27


parade is a piece composed of found memories. It is inspired by two main sources: an 8mm film of a parade from my Grandmother’s attic, and some recent recordings of my Grandfather made during a visit to his now non-existing hometown of Blakeburn, BC. For me, the piece explores the often blurred manner in which memories may be collected and handed down from generation to generation.

Lizard in the Garden

Jamie Philp

  • Year of composition: 1988
  • Duration: 3:33


This is a section of a complete dance score from 1988. The sad thing is that after much work the dance was never performed due to injury. This was commissioned by Memi von Gaza. Flugel horn and French horn, Michael Fijal; Didgeridoo, Nik and Daryl Kozub; Xaaphoon and loops, Jamie Philp.

Face à claques

Jean Routhier

  • Year of composition: 1995
  • Duration: 8:11


A merry-go-round of curious short stories are peeked at, not exposed. Ambiance are intertwined and scattered for you to dispose properly in your ear canals.

Vancouver Soundscape Revisited, 2: Fire

Claude Schryer

  • Duration: 3:44
  • Instrumentation: fixed medium
  • Publisher(s): Ymx média
  • ISWC: T0703318142


Celebrations and a virtual harbour symphony

Chinese firecrackers, folk dancing, Krishna musicians, baseball game, tennis, mechanical piano, gulls in the harbour, 9 o’clock gun, telephone ringing, Skytrain and bus, boat and train horns.


$75 CDN

John Wynne

  • Year of composition: 1996
  • Duration: 0:57


This piece consists of fleeting windows on other pieces and recordings made by the composer. The most tangible sounds are those of the equipment in the very studio in which the piece was created, their microscopic claustrophobia contrasting starkly with snatches of a Canada Day parade.


Mara Zibens

  • Year of composition: 1996
  • Duration: 2:51


The title Whiteout may perhaps refer to snow and blinding light and serves as a departure point for this sound/escape.

Estudio Sobre Una Configuraciõn Fractal

Daniel Zimbaldo

  • Year of composition: 1991
  • Duration: 12:16


Commissioned by CDMC-Fundaciõn Cajamadrid, this work is based fundamentally on the self-resemblance concept that is the feature shown by the systems of which the structures stay unalterable when observation scale changes (fractals).