Présence II (2 × CD) Track listing detail

La beauté indiscrète d’une note violette

Jorge Antunes

  • Year of composition: 1995
  • Duration: 2:00
  • Instrumentation: fixed medium

The short work is characterized by the timbral transformations and development of the note E. Octaves of this note, conforming to the Chromophonique theory of Jorge Antunes, correspond to the color violet.

La beauté indiscrète d’une note violette was composed at the Charybde studio of the Institut international de musique électroacoustique de Bourges (IMEB, France) in May, 1995.

In th’air or th’earth

Alastair Bannerman

  • Year of composition: 1997, 98-99
  • Duration: 10:52

The title of this work, and the spoken and sung text derive from Shakespeare.’s play The Tempest.

In th’air or th’earth was realized at the Electroacoustic Music Studios of the University of Birmingham, UK, between 1996 and ’97. I would like to acknowledge the assistance of Lys Appleby and Selina Ross, who provided the vocal material.


Peter Batchelor

  • Year of composition: 1996
  • Duration: 9:57

This piece involves an exploration of ways in which speed (or, conversely, stagnancy) might be implied entirely through the use of sound, both ‘real’ and ‘unreal’, and placed within a context that allows it free reign as a musical device.

Cinematic elements suggesting movement have been combined with gestures and textures of varying energy and complexity — the electroacoustic medium permiting fluid interaction between the two.


“volalle melodie vi to trot” / “fowl melody to trot”

Steve Bradley

  • Year of composition: 1999
  • Duration: 3:30

“volalle melodie vi to trot” or “fowl melody to trot” addresses the challenge of learning French growing up in a mediated psychic society.

Points of No Return

Chin-Chin Chen

  • Year of composition: 1997
  • Duration: 7:29
  • Instrumentation: stereo fixed medium

Points of No Return shifts between two different environments or landscapes. To achieve this, sounds were divided into two categories according to their nature and timbre; but as the piece evolves, some sounds from one environment also occur in the other. Points of No Return employs music concrète techniques, and digital editing and processing.



jef chippewa

  • Year of composition: 1997-98
  • Duration: 2:42

The compositional and perceptual experience of DUO offers the potential for comprehension of musical interactions and appreciation of the correspondence of timbre and articulation types between two radically different worlds of sound production (that of the alto saxophone and of the analog synthesizer), instead of a lethargic experience of linear continuity, and establishment of familiarity on a superficial level.

Thanks to Yves Charuest for his openness and flexibility as a performer and as a musician.

To many moments passed

Ian Chuprun

  • Year of composition: 1998
  • Duration: 7:11

A young boy sings… a train departs… fleeting fleeting rushing past.

This piece is the first in a suite of three pieces, entitled Under the Playground, composed at the University of Birmingham, UK, in 1998. To many moments passed is both celebration and lament.

Reading Allowed (PA 11)

Ian Chuprun

  • Year of composition: 1998
  • Duration: 1:51

This short work was composed specifically for the Birmingham ElectroAcoustic Sound Theatre (BEAST) website, and plays ironically on the relationships of the text-heavy web to sound, the ‘youthfulness’ of the web, and the parallels between web art and early computer music developments. Since the web is very reading intensive, and since sound software for the web works very well with spoken word, this piece employs three spoken self-reflexive phrases: — “How do you want this read?” — “Am I supposed to read this like a child?” — “Let’s try this out here.”

Zipper Music II

Gordon Fitzell

  • Year of composition: 1998
  • Duration: 7:21
  • Instrumentation: fixed medium

The title is not a metaphor but rather a literal description. Zipper Music II is a collage of digitally manipulated zipper sounds. Bizarre though it may be, the inherent sonic properties of a zipping sound are surprisingly rich. This piece is an attempt to exploit these properties.



Martín Alejandro Fumarola

  • Year of composition: 1988
  • Duration: 3:07

ARGOS is my first electroacoustic piece.

It was produced in 1988 in the now defunct LME (Laboratorio de Música Experimental, Escuela de Artes, Universidad Nacional de Córdoba)a using a Yamaha DX-7 synthesizer and a Revox A77 reel-to-reel tape recorder, with no computer use.


Martín Alejandro Fumarola

  • Year of composition: 1994
  • Duration: 4:20

SET IN was produced in 1994 in the now defunct LME (Laboratorio de Música Experimental, Escuela de Artes, Universidad Nacional de Córdoba) using a Yamaha TG-7 tone generator and a Voyetra Plus Gold sequencer for MS-DOS.

6 Aphorisms

Thomas Gerwin

  • Year of composition: 1998
  • Duration: 2:14

Six short ‘character pieces’ from my interactive sound installation Acoustic World Atlas which has been located since 1997 in the ZKM’s Media Museum (Karlsruhe, Germany).

All the pieces use solely original sounds from the named locations, composed and processed at inter art project — Studio for Media Art and ElectroAcoustic Music. Sound recordings from Bordighera and Menton: Hanno Gerwin.


Yves Gigon

  • Year of composition: 1997
  • Duration: 2:21

This piece has slowly matured only to live a fleeting moment just like the existence of a mayfly to which it refers. It was created almost exclusively using recordings from the Primordium, a large sound sculpture in one of the electroacoustic studios at Concordia University (Montréal).

Whipping the Boys

Barbara Golden

  • Year of composition: 1981, 99
  • Duration: 8:00

Whipping the Boys is actually pretty tame (all the parties kept their clothes on), but a good time was had by all. The ancient Moog from the Mills College Center for Contemporary Music still kicks butt.

Special thanks to: the other whipper, Wendy Reid; whippees Willie Winant and Sam Ashley; the laugher, Kosta Markakos; Les Stuck.

A Palaver with Procrustes

Martin Gotfrit

  • Year of composition: 1998
  • Duration: 3:02

Noise and sawtooth waves, resonant filters, all tuned to the Fibonacci series with 1.618 Hz as a base frequency. For Martin Bartlett, who warned me about the Inn.

Three Electronic Sketches

Otto Joachim

  • Year of composition: 1984
  • Duration: 12:36
  • Instrumentation: stereo fixed medium

Three Electronic Sketches (from Seven Electronic Sketches, April 1984) originally 4 channels. Equipment utilized: EMS — VCS3 II, DK1, filter bank, Pitch to Voltage Converter and Random Generator. Composer’s studio.

Sudden Cry

Suk-Jun Kim

  • Year of composition: 1998
  • Duration: 3:20

This is an excerpt from an 11-minute piece, Sudden Cry, which has a total of 4 parts. The third and fourth parts are found here, Deathbeat and Scream, respectively. All sounds were made with a Kurzweil K2000 synthesizer and a MIDI sequencer.

Spirit Wheels: Journey

sylvi macCormac / sylvi macCormac

  • Year of composition: 1997
  • Duration: 3:07

Spirit Wheels: Journey with the voices of people with (dis)abilities. Words & voices: Geoff McMurchy (& metal sculpture), Anastasia Rudkievich Briggs, Jayne Dinsmore, Daniel Hunt, Philip Murphy (& penny whistle traditional The Hag with the Money). Words, recordings & composing: sylvi macCormac.


Kevin MacLeod

  • Year of composition: 1998
  • Duration: 2:16

pacific is my first study in analog subtractive synthesis and envelope following, mixed with musique concrète editing techniques.

Solitary Climb: Climb to Camp One

Diana McIntosh

  • Year of composition: 1989
  • Duration: 6:49

Climb to Camp One, from McIntosh’s music/theater work, Solitary Climb, portrays a mountain climb which begins on a vast, silent glacier, crosses a precarious snow bridge, and scales an avalanche-ridden couloir to Camp One. The work is performed entirely on the interior of an amplified piano, using climbing gear such as karabiners, rope, leather gloves and a helmet.

Horizont im Ohr

Dugal McKinnon

  • Year of composition: 1998
  • Duration: 3:01

Literally, ‘Horizon in the Ear.’ Polymorph. Suggesting minutia and mass; schizophonia through dislocation, juxtaposition, transformation; the listener as territorialiser and territorialised; especially, the sensual physicality of the acousmatic.

Horizont im Ohr was produced at the Electroacoustic Music Studios of the University of Birmingham (UK).

Soundbodies: Bodypart

Adrian Moore

  • Year of composition: 1998
  • Duration: 2:08
  • Instrumentation: stereo fixed medium

Soundbodies: Bodypart represents Soundbodies, a 55-minute work for two singer-dancers, video, and electronic sound. This piece has hot, subversive voices and rhythms, and needs to be played at high volume. The complete collaborative work is available on VHS.

Stereotyped Latter-Day Opinion

Jean Routhier

  • Year of composition: 1999
  • Duration: 1:00

No urge, but a bit of density in this short whimsical piece where different musical genres collide. At work or at play it makes for a good break in the day. It doesn’t get any better! Repeated listening highly suggested. Kudos to SOC.


David Solursh

  • Year of composition: 1998
  • Duration: 3:15

We is made up of mainly water-related sounds, recorded at Malign Lake in Jasper, Alberta. It is titled We for many reasons, one is that we as humans are made up mostly of water. Water is also a very powerful ‘sonic’ image that we can all relate to.

H a e i o u y æ ø å pt. 2

Jørgen Teller

  • Year of composition: 1997
  • Duration: 4:01

Laughter processed in Curve Controle / Mac and WaveBoy / Ensonic. Originally produced in 3 versions: a 30-minute sound piece and a 2-hour installation, both commissioned by Lyd / Galleri with 25 speakers in the ground of the City Hall Square in Copenhagen, and finally as short radio piece for Lydmuren / P1 Danish Radio.


  • 1997, Installation, Rådhuspladsen, Copenhagen (Denmark)

step, under

Benjamin Thigpen

  • Year of composition: 1998
  • Duration: 3:06
  • Instrumentation: 8-channel fixed medium
  • Commission: Ina-GRM
To Nikki Halpern

step, under is an exploration of the polyphony and heterophony of time.

“What do I mean. Time is multiple. And not just because it is passing in a certain way now and will pass differently tomorrow.” — Bergson

Time is always already passing differently, time is always already other – non-identical, differing from itself. And music cuts it open like a knife, passing into its organs, arriving at its tiniest particles – shimmering, vibrating, shifting – flying along rapidly and motionless…

step, under was composed at the Groupe de recherches musicales (GRM, Paris) using the MARS (Musical Audio Research Station) workstation, and spatialized in eight channels via my program Octopode. Commissioned by the Ina-GRM.


Voices Part I

Todor Todoroff

  • Year of composition: 1997
  • Duration: 5:18
  • Instrumentation: 4-channel fixed medium

This work began from a series of experiments with instruments developed by combining the delay lines, filters and modulators of a MARS (Musical Audio Research Station), in the context of preliminary work undertaken for an interactive sound installation project in 1996.

During the process of working with different vocal and percussive sounds, resonant rhythmic textures emerged as well as melodic outlines stemming from real-time manipulation of instruments with feedback loops, but neither had a place in the initial project. Voices Part I is a short exploration of the fragile poetry of these materials, with some use of granular synthesis. It is a confrontation between two distinct perceptions of time, one perceived as rhythmic through the use of repetition and another one, seemingly suspended and uncertain.

[English translation: Stephanie Moore, i-19]

Voices Part I was realized in 1997 at the ARTeM (Art, recherche, technologie et musique [Art, Research, Technology, and Music]) studio in Brussels (Belgium) and was premiered on May 30, 1997 at the Palais Jacques-Cœur in the context of the Festival Synthèse in Bourges (France). Thank you to: IRIS (Instituto di Ricerca per l’Industria dello Spettacolo) in Paliano (Italy); Parco naturale La Selva; Prince Antonello Ruffo di Calabria and Sylviane Sapir for the long-term loan of a MARS (Musical Audio Research Station). Thank you also to Birgitte Odgaard Nielsen, whose voice I recorded. In 2000, the piece was included on the CD Présence II (PEP 002).


  • May 30, 1997, Synthèse 1997: Concert, Palais Jacques-Cœur, Bourges (Cher, France)

Ce n’est pas ici

Pascale Trudel

  • Year of composition: 1999
  • Duration: 2:01
  • Instrumentation: stereo fixed medium

I / remember / pieces of time / that / compose / a / life.

extrémités lointaines

Hans Tutschku

  • Year of composition: 1998
  • Duration: 2:54
  • Instrumentation: 8-channel fixed medium
  • Commission: French State (Music Office), Ina-GRM

extrémités lointaines uses recordings I made during a four-week concert tour in Asia in the summer of 1997. I recorded city sounds, the music of churches and temples, and the songs of children in Singapore, Indonesia, the Philippines and Thailand. These unexpectedly rich sound worlds, quite different from ours, remain inscrutable even if they open doors for us.

For many years, I have been integrating vocal and instrumental sounds into my electroacoustic compositions with the esthetic concern to maintain the cultural context of the source. Even though in extrémités lointaines I use a wide variety of sounds resulting from travels through four countries, these connections remain very strong. The piece is structured in 15 sections describing different locations. The intensity of the impressions I experienced during the trip has resulted in a dense compositional structure.


extrémités lointaines was realized in 1998 in the studios of Ina-GRM (Paris) and first performed in the original 8-channel version on 23 February 1998 during the Cycle acousmatique Son-Mu of GRM. The piece was commissioned by the French State (Music Office) and the Ina-GRM (Paris). extrémités lointaines has obtained a Mention in the Bourges International Electroacoustic Music Competition (France, 1998) and a Distinction at the Prix Ars Electronica (Linz, Austria, 1998).


  • February 23, 1998, Son-Mu 98: Concert, Salle Olivier Messiaen — Maison de la radio, Paris (France)


to be led

chris wind

  • Year of composition: 1993
  • Duration: 0:37


Thanks to Shirley Gould for the text (and yes, of course, that’s Strauss!)

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