landy - 1994 - the “something to hold on to factor” in timbral composition

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The something to hold on to factor in timbral

compositionLeigh Landy

a

aUniversity College Bretton Hall , Wakefield, UK

Published online: 21 Aug 2009.

To cite this article:Leigh Landy (1994) The something to hold on to factor in timbral composition, Contemporary Music

Review, 10:2, 49-60, DOI: 10.1080/07494469400640291

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ContemporaryMusic Review,

1994, Vol. 10, Part 2, pp .

49 60

Reprints available directly fro m the publisher

Photocopy ing permit ted by l icense only

9 1994 Harwood Academic Publishers G mbH

Printed in Malaysia

T h e S o m e t h i n g to H o l d o n t o F a ct or i n

T i m b r a l C o m p o s i t i o n

L e i g h L a n d y

Un ivers i t y Co l l eg e Bre t t o n Ha i l W a ke f i e ld , UK

A great deal of today's electroacoustic music has been found to be highly complex and difficult to

penetrate for the listener, yet no on e likes to get lost during a wo rk. In m y experience offering the first

time listener a helping hand is one of the great ways of making contemporary works more accessible.

In this article I attemp t to describe a tool, illustrate it a nd to an extent categorise applications relevant

to timbral electroacoustic composition, music in which there is often no melody (or

Hauptstimme ,

no

metre, no tonic, perh aps n o audible structure. If none of these traditional devices is a compo ser's aural

focus, what is, and can this device be perceived by the listener? The goal here is not to stimulate

simplicity in timbral music, but instead to strive for greater m usic appreciation and consequently music

evaluation in which composers, musicologists and all others involved in electroacoustic music can

profit. An extensive CDiscography has been included.

KEY W OR DS Electroacoustic music, music appreciation, musical dramaturgy, "listening strategies"

P r e a m b l e

A n y o n e i n v o l v e d i n t h e c r e a t io n o f ti m b r a l c o m p o s i t i o n is o f t e n - i f n o t a l w a y s -

f a c e d w i t h t h e q u e s t i o n : if t r a d it i o n a l c o m p o s i t i o n a l e l e m e n t s t h e l ik e s o f m e l o d y

a n d h a r m o n y a re n o t p r o m i n e n t i n th e w o r k I a m a b o u t t o c o m p o s e , w h a t w i ll b e ?

T h e l i s t e n e r i s e q u a l l y r e g u l a r l y c o n f r o n t e d w i t h a s i m i l a r q u e s t i o n : i f t r a d i t i o n a l

c o m p o s i t i o n a l e l e m e n t s t h e li k es o f m e l o d y a n d h a r m o n y a r e n o t p r o m i n e n t i n t h e

w o r k I a m a b o u t t o h e a r, w h a t w i ll b e ? T h e l a t te r q u e s t i o n i s a l so r e l e v a n t t o t h o s e

s t u d y i n g t i m b r a l m u s i c .

A n a s s u m p t i o n : V i r t u al l y e v e r y c o n t e m p o r a r y m u s i c l i st e n e r i s m o r e i n t e re s t e d

i n th e a p p r e c i a t i o n o f m u s i c t h a n i n b e i n g c o n f u s e d b y a g i v e n w o r k .

A n

o f t e n h e a r d c o m m e n t :

T h e r e m a r k : " T h i s p i e c e s e e m s t o g o n o w h e r e " i s a n

a w f u l o n e . B u t is it a l w a y s t h e p i e c e t h a t i n d e e d i s g o i n g n o w h e r e o r is it p e r h a p s

t h e l i s te n e r w h o i s u n a b l e t o fi n d h i s o r h e r w a y i n t o a g i v e n w o r k ( a p r e r e q u is i t e

t o b e i n g a b l e t o f o l l o w a w o r k ' s f l o w ) ?

A h y p o t h e s i s : T o d a y ' s li s te n e r , e s p e c i a ll y t h o s e w h o h a v e h a d l i tt le e x p e r i e n c e

w i t h t i m b r a l c o m p o s i t i o n , c a n p r of i t b y h a v i n g s o m e t h i n g t o h o l d o n t o i n w o r k s

i n w h i c h m a n y t r a d it i o n al e l e m e n t s a r e n o t p r o m i n e n t .

T h e g o a l s o f t h i s a r t i c l e :

I t i s h o p e d t h a t m o r e c o m p o s e r s ( a l o n g w i t h

m u s i c o l o g i s t s ) w i l l c o n s i d e r p r o v i d i n g l i s t e n e rs , e s p e c i a l ly f i rs t t i m e l i s t e n e r s, w i t h

a l i s te n i n g s t r a t e g y ( a t e r m g r a t e f u l l y b o r r o w e d f r o m C h r i s t i a n e t e n H o o p e n ) s o

49


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L Landy

that they may appreciate, and therefore not be confused by new timbral works.

Furthermore, it is hoped that the framework proposed below may be of use to the

composer with respect to making decisions relevant to the some thing to hold on

to factor .

Although obtaining a grip on a piece is not the entire road to appreciation, our

primary concern here is with demonstrab le ways for new listeners to enter into the

universe of a given work. My contention is that people who are open to timbral

composition are not averse to being given a helping han d wh en h earing pieces for

the first time. As they become more u sed to timbral works, they can discover their

own listening strategies. (There are of course no universal rules as to how music

is perceived. It is by no means assumed here that generalisations can be made as

to how a piece should be listened to at any given moment.)

The idea is to have the composer offer some sense of 'user-friendliness'.

User-friendliness by the way need not be sy nonymous with being overly friendly

to the user. (That is taken care of by composers of 'lovely music , e.g. Michae|

McNabb and Morton Subotnick and composers that belong to the label of the same

name including David Behrman and Robert Ashley. Their works tend to be more

note-based than sound-based ones and often represent what might be called

electroacoustic minimalism.)

I n t r o d u c t i o n

B a c k g r o u n d In recent years many of my talks and a good deal of my writings

have concerned the sad lot of new music's diffusion. Extra-musical issues have

been foun d to be highl y relevant, especially those of the less than ideal state of the

communications media and of education. But passing the blame is only part of the

story. Today man y potential listeners have not acquired an enthus iasm for timbral

music as they simply do not know how to listen to it.

O f c o u r s e t h i s i d e a i s n o t h i n g n e w Morton Feldman often made the following

commen t about Gustav Mahler's compositions: You know, Mahler is very easy to

listen to and enjoy as there are never more than two or three things going on at

the same time in his works . Does this mean that one has to compose simple music

to be enjoyed? Obviously, the answer is negative.

A good look at any of GyOrgy Ligeti's scores from the 1960s demonstrates a

certain level of complexity. Yet, he was very careful in those years to profile

register and density through his cluster writing as two parameters that could be

easily followed. In other words, he offered his listeners something to hold on to.

His relative success within the field of timbral instrumental and vocal music is

undisputable. Similarly, in several scores by Iannis Xenakis, the presence or

absence of order, of masses of short sounds or lengthy glissandi and of very

dissimilar dynamic flows can be discerned.

Luciano Berio's

Sequenza III

for solo voice is rich in a variety of vocal sounds; it

can be listened to in the sense of an abstract dramatic work. Its sto ry can be

found in the virtuoso musical development of emotional personages by a single

female voice. To create a bridge to our area of concentration, his earlier Thema:

Omaggio a Joyce for tape, which consists solely of processed recordings of Cathy

Berberian's voice, goes beyond the potential of the live voice and yet is not


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Something to Hold on to actor

51

necessarily difficult for the new listener due to the constant treatment of the single

sound type, at times completely phonetic, at times vocalising phrases. Truly the

choice of the voice is an obvious frame of reference in a timbral work; we will soon

meet less obvious ones within electroacoustic timbral composition.

P r o g r a m m e a n d C D l i n e r n o t e s

But what do we read in our programme

booklets in th e concert hall or in our CD inserts? In general the choice is between

vague notions of sources of inspiration to a composer and/or huge technical

descriptions of a work's construction whether it is perceptible or not. The two

computer music series Wergo has p roduced provide dozens of illustrations of this

tendency.

Certainly specialists have the right to obtain technical information concerning

the architecture of a piece, but at the end of the day most listeners are more

interested in wha t t hey can hear. If the listener is unable to perceive an algorithm,

what is the point of focusing on it in terms of programme information?

There is a current developme nt within musicology moving away from the stud y

of scores (or in the case of timbral music, the st udy of a tape work's realisation) and

more towards questions of interpretation and, more relevant to us, listening. The

something to hold on to factor exemplifies this development within timbral

electroacoustic composition.

T h e c o n c e p t o f d r a m a t u r g y i n m u s i c What does a dramaturge do in a theatre?

He or she is the person who attempts to make the chosen path of the director,

composer, scene designer and so on understandable an d place the interpretation in

historic context to - in chronological order - the actors and others involved in the

performance, those funding the production, journalists and the public at large

(especially through the programme booklet, but also through the communications

media). In other words the Wh y of a production, the intention of the

interpretation, is worked out and presented by the dramaturge offering the viewer

at least one possibility of something to keep in mind during a performance,

especially those treating abstract texts.

In the past the author has often suggested that today's composer add the

question Wh y to those of What and Ho w with respect to discussions of

their works. The musical translation of the theatre dramaturge's work, the

dramat urgy of a composition, is to be fo und in the combination of the articulation

of the Wh y of the work, with the propose d offering of a grip to (first) listeners

where relevant. Such an aim should always be encapsulated in our programme

and CD booklets. The Wh y story will be dealt with on other occasions. We can

now develop our main theme.

T h e f o u r c a t e g o r ie s

Some contemporary composers have developed reputatio ns

thro ugh establishing expectations: a Glenn Branca piece will most likely be loud,

a Brian Ferneyhough piece will most likely be complex. The former is easy to

follow (be it a controversial choice), the latter sometimes less easy. This

establishing of expectations is true as well for a number of electroacoustic

composers, although others will concentrate on a different challenge for each

piece.

The following four general categories are proposed. 1) It is sometimes found that

one parameter (e.g. space, tunings) is the special focus of a composition.


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L Landy

2) Homogeneity of sound quality is an often followed path. 3) In a nu mber of cases

the Feldman remark gains new meaning: a transparency is created in electroacous-

tic works where no more th an four layers of sound are present at any given point.

4) All sorts of programmes, realistic or imaginary, have been known to offer the

listener somethin g to hold on to. This approach has often been called cindma pour

l oreille

by members of the French school.

These four categories are the result of this first attempt to classify things to hold

on to in electroacoustic timbral works. Some categories know many examples. In

such cases only a small selection has been made as an exhaustive list would be

behi nd the times in six mont hs' time.

R u l e s o f t h e g a m e : In the following section only electroacoustic compositions

will be discussed, specifically those in which the timbral dimension outweighs that

of melody or any other form of Hauptstimme. Emphasis has been given to those

pieces where the sound is more prominent than its subset, the note. It is often

difficult to treat entire works in terms of the proposed factor as these works m ay

be quite diverse from section to section; they might offer different things to h old

on to at different moments. In such cases the most prevalent characteristic of each

work has b een chosen. It must be stated here t hat the works to be discussed below

have not been extracted from the author's Hit Parade of timbral music, but

instead have been chosen due to their being illustrative of a given category.

The list was made after many listening sessions of works recorded on CD. The

CD restriction was a practical one. It is hoped that most of the cited compositions

can be foun d commercially or in archives locally without too much difficulty.

S o m e T h i n g s t o H o l d o n t o

i S o m e p a r a m e t e r s f o r a s t ar t

a) Dynamics It has been said that when sounds become very loud, the

perception of colour differentiation is lessened. Still thr ougho ut the decades there

have been several composers who have chosen the parameter of the youth,

loudness, and in general the higher levels of the scale. The historic example is

Gottfried Michael Koenig. In his entire Funktion series of the late sixties (Funktion

Grau, Funktion Indigo,

etc.) Koenig created works where loudness was the factor

most held on to during first listenings.

b) Space Althou gh the parameter of physical space is not an obvious one here,

it indeed is quite clearly something to hold on to when it is central to a piece.

Naturally a CD recording is not the ideal me diu m for the diffusion of such works.

One piece recorded on CD that is spatially inventive is John Chownin g's

Turenas.

During certain sections of this work Chow ning has sounds moving along circular

paths in a quadraphonic setting. Anothe r composer who has spent a good part of

his career making people aware of the spaces around them is Alvin Lucier.

c) Pitch This parameter seems to be unusua l given our desire to look into timbral

composition. Nevertheless, some composers have explored new tuning systems

and interval combinations which in turn take the emphasis away from

Hauptstimme-orientation

and more to wards colour. John Chown ing's golden-mean

work Stria, a work that flows with a constant glissando movem ent exemplifies this

well.


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Something to Hold on to Factor 53

In James Dashow's piece Sequence Symbols he has created an interrelationship

betwee n harmon ic structure and timbre. His approach is successful in the sense of

the current article in tha t this interaction leads to homogeneo us sectional timbral

flows within the work. Whether the listener is precisely aware of how this

homoge neity was constructed is unlikely (unless a programme has been read); the

various forms of timbral homogeneity are what is held on to in any event.

It should be said here that, other than isolated movements of compositions by

Bernard Parmegiani and a short work by Javier Alvarez, no timbral electroacoustic

music was foun d where rhyt hm or temporal divisions offered the listener the kind

of grip we are looking for. Certainly other parameters could be called on here as

well, but none was discovered during the preparation of this article.

i i H o m o g e n e i t y o f s o u n d a n d t h e se a rc h fo r n e w s o u n d s

a) To begin - p i e c e s b a s e d o n o n e o r a f e w p i t c h e s Phill Niblock is a composer

who has spent most of his career making pieces in which ma ny sustained notes are

heard surrounding one or at most a few pitches. In recent years these works have

been written solely for acoustic instruments and are recorded employing multi-

track techniques. Giacinto Scelsi is another instrumental composer who chose for

this form of minima l pitch materials to gain a maximum sonority. In electroacoustic

music the obvious candidate is one of the composers on the Canadian Electro-

clips CD, Yves Daoust with his Mi bdmol .

b) H o m o g e n e o u s te x tu r e s As these categories are hardly indepe ndent of each

other, previously mentioned compositions also belong to this category: Chown-

ing's Stria is one as well as m any pieces by Lucier. But this category is quite broad

covering many approaches and very different compositions. Similar to the

above-mentioned Daoust work is John Oswald's simple sampling clip from the

same CD entitled Bell Speeds. Here the composer takes one sampled sound and

turns it into an entire ensemble within a broad register by compressing and

stretching it thro ughou t a range of several octaves and setting different durations

for each pitch.

Homogen eous timbral movem ent can be fou nd in the granular sound complexes

of Barry Truax's

Riverrun

and

T h e W i n g s o f N i k e

as well as a number of Paul

Lansky's Idle Chatter works (the tonal dimension of the latter is a traditional

'somethin g to hold on to' a t times, too). It is interesting ho w these composers reach

homoge neity through the complexities of massive amounts of very short sounds.

Although th e algorithmic composer Emanuel Dimas de Melo Pimenta's sounds are

longer than granular ones in his composition Rings one can again speak of clouds

of sounds of a very homogeneous nature tying this piece together.

From short to long, David Wessel's A n t o n y gains its homogeneous timbral

character from a bank of oscillators creating an overall singular, slowly evolving

texture. In Charles Dodge's Profile inharmonic fimbral homogeneity (and that of

large-scale movement) has been generated throu gh a scheme of self-similarity, the

basis of fractals.

But there's homo geneity and there's homogen eity. Until now the w ord has been

used in a limited sense of sound ing very much alike at any given moment . In

ma ny of Bernard Parmegiani's compositions - as well as Christian Zan4si's -

movements may be highly dissimilar, but the movements themselves treat

materials that have a common denominator in a wider sense. Parmegiani's

large-scale works La crdat ion d u mo nde and De Na tura Sonorum exemplify this well.


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54 L Landy

One moveme nt title, Etude dlastique indicates what sort of commo n denomi-

nator a movement can have. Such Parmegiani works are ideal examples of this

factor.

c) New soun ds Th e name of this category is not an obvious one, as a good deal

of electroacoustic music deals with new sounds. Still some composers including

Iannis Xenakis are simultaneously obsessed with searching for new sounds in their

electroacoustic works as well as providing the listener with a grip by creating their

new sounds with some sort of common quality. Xenakis's Mycenae-Alpha typifies

this category. Although many listeners are alienated upon first listening by the

noisy textures in such works, they do obtain a sense of homogen eity in terms of

the types of sounds used. The complex granular sound compositions mentioned

above all call for the devel opment of new sounds (perhaps based on existent ones,

but that is only from the construction point of view); they gain coherency through

their homogeneous use.

d) T h e v o i c e a n d t h e s p e c i a l c a s e o f a l i v e i n s t r u m e n t p l u s t a p e As said in

the introduction, pieces such as Berio's

Them a: Omaggio a Joyce

offer the listener

the most familiar and most versatile instrument there is, the human voice, an

instr ument made mor e versatile through electroacoustic manipulat ion. Truax's The

Wings of Nike and Lansky's Idle Chatter series and the speech synthesis works by

Charles Dodge belong to this category. However not all sounds need to be vocal

to offer something to hold on to. Several works by Alejandro Vi~ao and Trevor

Wishart focus on the voice as an element to hold on to even though it is but one

of man y sou nd sources. David Evan Jones's Scritto demonstrates an unusual use of

speech sounds as they are treated as instrumental textures.

Although this list consists primarily of tape works, there is one type of

composition where timbres of live instruments, including the voice, seem to blend

in and out of timbres recorded on tape. Such works are most relevant to this study.

Horacio Vaggione has pursu ed this form of homo geneit y in several pieces. His

Tar

and Thema exemplify what he has called timbre object-oriented music . An

exceptional example is Jean-Claude Risset's

Songes

where both the acoustic

instrumental sounds and the processed ones are combined on tape.

i i i T e x t u r e s n o t e x c e e d i n g f o u r s o u n d t y p e s a t o n c e

Transparency through a consistent use of not too many levels of materials at once

is one of the oldest paths to follow dating from the early years of electroacoustic

music. One of the least complex works to the ear by Karlheinz Stockhausen,

Gesang der Jfmglinge

which is the Sum of the youth's vocalisation and the

homogeneity of the electronic sounds, exemplifies this well. Similarly Jonathan

Harvey's more recent

Mortuos Plango Vivos Voco

is based on two sound types, the

voice of his son and the processed sounds of a bell. This approach has proven

useful to a great n umbe r of composers, especially those of the French school (to be

further treated in point iv).

One composer deserves special attention here. Denis Smalley is definitely a

product of the French school, but has created a special place of his own, Althoug h

one mig ht speak of his compositions' possessing a certain narrative character, their

programme is so abstract that I believe his work is the ultimate illustration of the

current category. In many of Smalley's works there is a sense of geometry: the

slopes of Pentes the concept implied by the title Vortex and of a geography as

exemplified in his recent composition Valley Flow. The movement wit hin his pieces


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Something to Hold o to Factor

55

c o m b i n e d w i t h t h e f a c t th a t t h e r e i s r a r e ly t o o m u c h g o in g o n a t a n y g i v e n m o m e n t

l e a d t o t h e f a c t th a t t h e l i st e n e r c a n h a r d l y g e t lo s t d u r i n g a w o r k . O b v i o u s l y h i s

c r a f t s m a n s h i p a n d h i s s e n s e o f t e n s i o n a n d r e l e a s e i n t h e f l o w o f h i s c o m p o s i t i o n s

a r e e q u a ll y r el e v an t . B u t th e n u m b e r o f s o u n d t y p e s a t a n y g i v e n m o m e n t i n a v a s t

m a j o r i t y o f h i s c o m p o s i t i o n s s e e m s n e v e r t o c o n f u s e t h e p e r c e p t i o n b y o f f e r i n g i t

a n o v e r d o s e o f i n f o rm a t i o n . I n t h is w a y t h e l i st e n e r c a n h o l d o n t o v i r t u a ll y

e v e r y t h i n g h a p p e n i n g . D e n i s S m a l l e y b e s t e x e m p l i f i e s t h e a b o v e m e n t i o n e d

u s e r - f r i e n d l i n e s s w i t h o u t n e c e s s a r i l y b e i n g o v e r l y f r i e n d l y t o t h e u s e r .

i v ) P r o g r a m m e s , s o m e a r e r e a l b u t m a n y a r e i m a g i n a r y

A s

musique concrete

w a s b o r n o f t h e r a d i o p l a y d e p a r t m e n t o f t h e F r e n c h r a d i o , i t

m i g h t b e s a i d t h a t t h e f i r s t r e a l - l i f e p r o g r a m m e m u s i c w a s m u s i c i n w h i c h a n y

s o u n d c a n b e u s e d , e l e c t r o a c o u s t i c m u s i c . Y e t f e w h a v e c h o s e n r e a l - l i f e p r o -

g r a m m e s ; i n s te a d s u r re a li st ic a n d a b s t ra c t i m a g e s h a v e b e e n e v o k e d b y m a n y

c o m p o s e r s w h o h a v e c r e a t e d i m a g i n a r y l a n d s c a p e s a n d a b s t r a c t n a r r a t i v e s i n t h e i r

w o r k s . O n e p e r t i n e n t a s p e c t o f s u c h c o m p o s i t i o n s h a s t o d o w i t h t h e l i s t e n e r ' s

r e a c t i o n t o r e a l - l i f e s o u n d s ( w h e t h e r t h e y a r e i n d e e d u s e d o r j u s t s u g g e s t e d i n a

w o r k i s u n i m p o r t a n t ) , a s , a l o n g w i t h h i s o r h e r n e e d o f s o m e t h i n g t o h o l d o n t o ,

t h e l i s t e n e r i s o f t e n ( u n ) c o n s c i o u s l y t r y i n g t o p l a c e s o u n d s w i t h i n p e r s o n a l

e x p e r i e n c e . W h e n w e t r y a n e w c u i s i n e , w e t e n d t o s a y t h a t s o m e t h i n g t a s t e s l i k e

s o m e t h i n g w e h a v e a l r e a d y e a t e n ; w h e n w e l i s t e n , w e r e a c t a n a l o g o u s l y .

Mos t o f t he fo l l owi ng works wou l d f i t i n t o ca t ego ry i i i , t ex t u res o f f i n i t e l ayer s ,

a s t h e y t e n d t o h a v e a s i m i l a r t r a n s p a r e n c y . T h e m a i n d i f f e r e n c e b e t w e e n t h e t w o

c a t e g o r i e s c a n b e f o u n d i n t h e h i g h e r n u m b e r o f c o n t r a s t s l o c a l l y d u e t o t h e

n a r r a t i v e c h a r a c t e r o f t h e s e p r o g r a m m e p i e c e s .

a) O n e p r o g r a m m e - n a t u r e ( f or a c h a n g e ) O n e w o n d e r s w h e t h e r H ~ n d e l

k n e w w h a t h e w a s g e t t i n g i n t o w h e n h e w r o t e h i s

Water Music.

T h e f o l l o w i n g

c o m p o s e r s o ff e r w a t e r to h o l d o n t o i n t h e i r c o m p o s i t i o n s : F r a n c o i s -B e r n a r d

M ~ c h e i n h i s

Terre de feu

( w h e r e w a t e r - l i k e t e x t u r e s a r e a c c o m p a n i e d b y f i r e - l i k e

o n e s ) a n d T o m T a k e m i t s u i n h i s

Water Music

( f rom h i s f auce t ) . Mi che l Redo l f i and

D a v i d D u n n h a v e g o n e u n d e r w a t e r . J e a n - C l a u d e R i s s e t ' s

Sud in

w h i c h t h e

M e d i t e r r a n e a n c o a s t i s t h e s u b j e c t , n o t j u s t w a t e r ) a n d B a r r y T r u a x ' s

Riverrun

b e l o n g t o t h e e v e r - i n c r e a s in g l i st a s w e l l . I n s o m e c a s e s t h e r e a r e n o r e c o r d e d w a t e r

s o u n d s t o b e h e a r d ; t h e i m a g e o f w a t e r i s w h a t o n e h o l d s o n t o .

N a t u r e i n t h e w i d e r s e n s e i s a t h e m e o f t e n a p p e a r i n g i n t i m b r a l e l e c t r o a c o u s t i c

m u s i c , e s p e c i a ll y i n C a n a d a , t h e l a n d o f t h e W o r l d S o u n d s c a p e P r o j e c t o f M u r r a y

S c h a f e r a n d o t h e rs . H i l d e g a r d W e s t e r k a m p t y pi fi e s a c o m p o s e r w h o a p p l ie s W S P

t h i nk i ng t o e l ec t roacous t i c t i mbra l compos i t i on .

b ) T w o s p e c ia l c a se s w i t h r e c y c l e d k n o w n s o u n d s - t h o s e m u s i c a l a n d

a n e c d o t a l S e v e r a l e l e c t r o a c o u s t i c c o m p o s e r s h a v e m a d e p r o g r a m m a t i c w o r k s

t h r o u g h t h e u s e o f re c y c l i n g o l d e r m u s i c . P e r h a p s o n e m i g h t c all t h is ' n o s t a lg i a

c o m p o s i t i o n ' . T h e t r e a t m e n t o f e x is t e n t m u s i c w i t h i n t h e e l e c t r o a c o u s ti c c o n te x t i s

o n e t h i n g , u s u a l l y n o t t h e o n l y o n e , t o h o l d o n t o in s u c h w o r k s . E x a m p l e s i n c lu d e :

Y v e s D a o u s t 's

Suite Baroque,

R o b e rt N o r m a n d e a u ' s

Jeu,

A k e P a r m e r u d ' s

Al ias

a n d

C h a r l e s D o d g e ' s

Any Resemblance is Purely Coincidental.

( T h i s c o m i c a l C a r u s o

d e r a i l m e n t i n m u s i c i s f o r m a l l y s p e a k i n g n o t a t i m b r a l c o m p o s i t i o n a s d e f i n e d

h e r e , b u t i s s o u n u s u a l t h e a u t h o r h a s g l a d l y i n c l u d e d it .) T h e ' a b s o l u te l y n o t f o r

s a l e J o h n O s w a l d

Plunderphonics

r eco rd i ngs r ad i ca l l y exp l o re t he po t en t i a l o f

r e c y c l i n g c o m b i n e d w i t h t o d a y ' s s a m p l i n g t e c h n o l o g y .


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56

L Landy

T h e t e r m " a n e c d o t a l m u s i c " i s o r i g i n a l ly f r o m t h e p e n o f L u c F e rr a r i a n d r e f e r s

t o e x p o s i n g t h e r e f e r e n t i a l c h a r a c t e r o f m a n y s o u n d s i n a g i v e n w o r k . T h e m o s t

r a d i c al s t a t e m e n t o f t h i s k i n d w a s h i s o w n

Presque rien no. 1: Lever du jour au bord

de la mer,

a n a b r i d g e d r e c o r d i n g o f a m o r n i n g o n a C r o a t i a n b e a c h . A m o n g s e v e r a l

o t h e r r e l e v a n t p i e c e s is B e r n a r d P a r m e g i a n i ' s

Dedans dehors

w h e r e t h e j u x t a p o s i -

t i o n o f i n s i d e a n d o u t s i d e p e r s p e c t i v e s l e a d s t o v e r y s u r r e a l i s t ic s o n i c e p i s o d e s .

A s i s te r ar e a t o a n e c d o t a l m u s i c c o n c e r n s w o r k s i n w h i c h t h e c o m p o s e r p l a y s a

g a m e w i t h s o u n d r e c og n i ti o n . In G e r m a n t h is g a m e i s o n e b e t w e e n

Schein

a n d

Sein

( s e m b l a n c e a n d r e a l i t y ) . I n s u c h w o r k s t h e c o m p o s e r s s e e m t o m a n i p u l a t e t h e

l i s t e n e r ' s p e r c e p t i o n . J o h n C h o w n i n g ' s

Phond

a n d D a n i e l V . O p p e n h e i m ' s

Round

the Corners of Purgatory

i l l u s t r a t e t h i s w e l l . T h i s p a t h c a n f a s c i n a t e t h e l i s t e n e r , b u t

i t c a n a l so d i v e r t o n e ' s a t t e n t i o n f r o m a p ie c e a n d i n t o t h e t e r r i t o r y o f

Schein

a n d

Sein

a n d s h o u l d t h e r e f o r e a l w a y s b e u s e d w i t h c a r e.

c) A c o u s m a t i c t a l e s E a r l y F r e n c h e l e c t r o a c o u s t i c m u s i c w a s b o r n w i t h i n a

r a d i o p h o n i c t r ad i ti o n . T h i s m e a n t t h a t m a n y o f it s co m p o s e r s w o u l d i n e v i ta b l y

t h i n k p r o g r a m m a t i c a l ly , in t h e w i d e s t s e n s e o f t h e w o r d . ( J u s t t h i n k o f h o w

' u n s t o r y - l i k e ' s o m e m o d e m t h e a t r e w a s a t t h e t im e ) T h i s b a si s h a s p r o v e n t o b e

m o s t d y n a m i c . H i s t o r ic f ig u r e s o f t h e 1 9 5 0 s a n d 1 9 6 0 s i n c l u d e m o s t m e m b e r s o f

t h e G r o u p e d e R e c h e r c h e s M u s i c a l e s ( G R M ) a n d t h e i r a l l i e s . T o d a y ' s g r o u p o f

c o m p o s e r s m o s t i n f l u e n c e d b y t h i s n o t i o n a r e F r e n ch a n d F r e n c h - C a n a d i a n -

n a m e s i n c l u d e F r a n c i s D h o m o n t ( e s p e c i a l l y h i s

Novars ,

C h r i s t i a n C a l o n , Y v e s

D a o u s t , C l a u d e S c h r e y e r a n d R o b e r t N o r m a n d e a u w o r k i n g in C a n a d a a n d M i c h e l

C h i o n , C l a u d e L e j e u n e a n d A l a i n S a v o u r e t i n F r a n c e - o r i n m o s t c a s e s h a v e

p a s s e d t h r o u g h P a r i s o r M o n t r e a l f o r s o m e t i m e . A c o m p l e t e l i s t o f c o m p o s e r s o f

a c o u s m a t i c t a le s w o r l d - w i d e w o u l d b e f a i r l y e x t e n s iv e .

( i) S o m e p a r a m e t e r s f o r a s t a r t

( a ) D y n a m i c s

(b) S pace

(c ) P i t c h ( a n d r h y t h m )

(ii) H o m o g e n e i t y o f so u n d s a n d t h e s e a r c h f o r n e w s o u n d s

( a) T o b e g i n - p i e c e s b a s e d o n o n e o r a f e w p i tc h e s

( b) H o m o g e n e o u s t e x t ur e s

( c) N e w s o u n d s

( d) T h e v o i c e a n d t h e s p e c ia l c a se o f a li v e i n s t r u m e n t p l u s t a p e

( iii) T e x t u r es n o t e x c e e d i n g f o u r s o u n d t y p e s a t o n c e

( i v ) P r o g r a m m e s , s o m e a r e r e a l b u t m a n y a r e i m a g i n a r y

( a) O n e p r o g r a m m e - n a t u r e ( f or a c h a n g e )

( b) T w o s p e c i al c a se s w i t h r e c y c l e d k n o w n s o u n d s

t h o s e m u s i c a l a n d " ' a n e c d o t a l "

( c) A c o u s m a t i c ta l e s

( v) A n d s o o n

F i g u r e 1 S om ecategories of things to h old o n to


10/13

Something to Hold on to actor 7

Defining the scope of programmat ic electroacoustic compositions is wor thy of an

article in itself. Suffice it to say that the combination of narrative, including its most

abstract varieties, and acousmatic listening strategies has led to this largest of all

categories.

It should be mentioned that the typical French notion of including a narrator in

an electroacoustic work offers something completely different to hold on to and

may on occasion take one's attention away from a timbral stor y .

v ) A n d s o o n

It is perhaps surprising how little improvised music can be found above. Some

researched works simply did not seem to offer any particular grip. Few were truly

timbral pieces. An exception can be found in the work of Michel Waisvisz when

he performs with his instr ument called The Hands . It must be said that the

something to hold on to is what is seen while he is performing his improvisation.

Therefore audio CD recordings miss an essential part of the work analogous to the

stereo reduction of the above-mentioned spatial compositions.

Less surprising is the absence of a good deal of music that has been made within

the realms of contemporary serialism an d/ or ne w complexity (as opposed to the

complexity of granular music of, for example, Truax). Arnold SchOnberg's dream

that listeners would be able to hear row ma nipulat ion while listening to his works

did not come true. Now that serial approaches have become very sophisticated in

general, the perception's fuse box tends to blow from time to time. This sadly

exemplifies music where the listener can get lost (which of course does not mean

that the work is not going anywhere but that the listener is simply unable to find

anything to hold on to).

A F e w C l o s i n g W o r d s

A

f inal as sum pt ion symm etr ic to the f ir s t one) :

With few exceptions, today's

composers do not want to confuse their listeners; they prefer to have their works

appreciated. (At least I hope so.)

Th a t o f t e n h e a r d c o m m e n t r e v is it e d ):

Today's composers do not enjoy hearing

the comment that their pieces are not going anywhere either.

I have atte mpted to describe - be it only briefly - four classes of things to hold

on to that ha ve arisen from today's repertoire. Timbral electroacoustic composition,

certainly ailing under the shadow of music made with note-based MIDI apparatus,

has remained much too marginal. The reasons for this are known to us all. One

reason seems to be the difficulty experienced by man y potential listeners who fail

to find the key to enter into this music.

I believe that considering the conscious use of the somet hing to hold on to

factor may aid in a better music appreciation. Granted, a grip is not everything,

but it can make crossing the threshold into a work much easier.

A n A c k n o w l e d g em e n t

In 1986 Simon Emmerson published an article The Relations of Language to

Materials in

The Langua ge of lectroacoustic Mu sic

(Basingstoke: MacMillan). In


11/13

5 8 L Landy

this article he created a three by three matrix which was i ntende d to aid in helping

categorise compositional approaches in electroacoustic music from both the

discourse as well as syntax points of view. Through his clear examples he

succeeded in offering the reader a means of discussing the treatment of material

and structure without resorting to terminology derived from the music of notes.

His text has served as an example for the above discussion.

Discography

In this list each work is cross-referenced [between brackets] with the category or

categories to which it belongs. Not all composers names have be en men tion ed

above.

Alvarez, Javier

Mambo ~ la Braque (1 9 9 0 ) . i M d D IA IM ED -9 1 0 6 -C D [ i -c / rh y t h m, i v -b , i v -c ] .

A mi rk h a n i a n , C h a r l e s - Pas de voix (Portrait of Samuel Beckett) (1 9 8 7 ) . Pe rsp e c t i v e s o f N e w M u s i c

PNM26 [iv-c] .

Arfib , Danie l - Le souffle du doux (1979). W ergo WER 202 2-50 [ i ii ] .

A sh l e y , R o b e r t - Yellow M an wi th Heart and Win gs for English and Spanish Voices, Keyboards and

Electronics (1978). Lo vely Music LCD 1003 [preamble] .

B~ck , Sven-Erik - In Principio (1 9 7 0 ) . Ph o n o Su e c i a PS C D 4 1 [ i v -c , w i t h so me n a r ra t i o n ] .

Bayle , Fran cois - Toupie dans le ciel ( a m o v e m e n t f r o m Erosph~re 1 9 79 ) . IN A C 1 0 0 0 a n d IN A C 3 0 0 2

[iv--c].

B e h r m a n , D a v i d

- A T r a ve l l er s D r e a m J o u r n a l

1 9 8 8 / 1 9 9 0 ) a n d o t h e r w o r k s . L o v e l y M u s i c L C D 1 0 4 2

[preamble] .

Berio , Lucian o - Sequenza III (1 96 5 ) fo r so l o fe ma l e v o ic e . We rg o WER 6 0 2 1 -2 , P h i h 'p s 4 2 6 6 6 2 -2 a n d

Virg in Classics VC-790704-2 [ in t ro] .

- T hema - Omaggio a Joyce (1958). BVHaast CD 9190 Acousmatrix 7 [ in t ro , i i -d ] .

B o e r m a n , J a n - A l c h e m i e (196I), Composition 72 (1972), De Zee (1966). Co mp ose rs ' Voice CV 7701 (LP

only) [ iv -c] .

B r~ n , H e rb e r t - i toLD You so (N o . 6 f ro m h i s Project SAWDUST 1981). Centaur CRC 2045 [ i i -c] .

C a l o n , C h r i s t i a n - La disparition (1 98 8 ) a n d o t h e r w o rk s , i M ~ D IA IM ED -9 0 0 1 -C D [ i v -c ] .

C a l o n , C h r i s t i a n a n d C l a u d e Sc h re y e r - Prochaine Station (1 99 0 ). i M d D IA IM E D -9 0 0 4 - C D [ i v -c] .

C h i o n , M i c h e l - La ronde (1982) and La tentantion de Saint-Antoine (1 98 4 ). IN A C 2 0 0 2 / 2 0 0 3 [ i v -c , th e

la t ter a typ ica l case wi th narra t ion].

C h o w n i n g , J o h n - Phond (1 9 8 0 / 1 9 8 1 ) , Stria (1977), and Turenas (1 97 2 ). W e rg o WER 2 0 1 2 -5 0 [ i v -b ,

i - c , i - b re sp e c ti v e l y ].

D a o u s t , Y v e s Mi b d m o l (1 99 0 ). Ea r A b s o l u t C D n o . 1 a n d i M d D IA IM ED -9 0 0 4 -C D [ i i- a ].

Suite Baroque (1 98 9 ). i M d D IA IM ED -9 1 0 6 -C D [ i v -b ] .

D a s h o w , J a m e s Sequence Symbols (1984, 1986). W ergo WER 2010- 50 [ i -c] .

D h o mo n t , F ra n c i s - Novars (1989), Chiaroscuro .. . ou les jeux de l 'ambigu~td (1 9 8 7 ) a n d fo u r o t h e r

w o rk s , i M ~ D IA LM ED -9 1 0 7 / 9 1 0 8 a n d B V H a a s t 9 1 0 7 / 9 1 0 8 [ i v -c ] . Th e l a t t e r p i e c e i s al so a v a il a b l e

o n Le C h a n t d u M o n d e (B o u rg e s ) LD C 2 7 8 0 4 8 .

D o d g e , C h a r l e s - Any Resemblance is Purely Coincidental (1 98 0 ). W e rg o WER 2 0 3 1 -2 [ i i -d , iv -b ] .

Profile (1984). Neuma 450-73 [ i i -c] .

D u n n , D a v i d - Chaos & the Emergent Mind of the Pond (1990). The Aeria l 2 [ iv -a] .

En s t r6 m, R o l f Dagbrott (1983). Phono Suecia PS CD 41 [ i i i ] .

Ferrari , Luc - Presque rien no. 1: Lever du jour au bor d de lam er (1970) DGG DG 2561 041 (LP only)

[iv-b] .

Presque rien avec filles (1980) and Petite symphon ie intuit ive pour un paysage de printemps (1973).

B V H a a s t C D 9 0 0 9 A c o u sma t r i x 3 [ i v -b ] .

G o e b e l , Jo h a n n e s Vom LIbersetzen aber den Fluff (1 9 8 7 / 1 9 8 8 ) . We rg o W ER 2 0 2 3 -5 0 [ ii -c ] .

H a rv e y , Jo n a t h a n - Mortuos Plango, Vivos Voco (1980). We rgo WER 2 025 -2 [ 't ii ].

Henry , Pierre (see Pierre Schaeffer) .

Jo n e s , D a v i d Ev a n - Scritto (1 98 6 ). W e rg o WER 2 0 2 4 -5 0 [ i i-d ] .


12/13

Something to Hold on to Factor 5 9

Ko e n i g , Go t t f r i e d M i c h a e l -

Funktion { Rot , Grau, Violett, Blau, Indigo}

(1968, 1969). BVH aast CD

9 0 0 1 / 2 Ac o u sma t r i x 1 / 2 [ i - a ] .

K~ipper, Leo -

Litanea

(1988). Le Cha nt du Mon de (Bourges) LDC 278 049 /50 [ i i -d ] .

Lansky , Paul - Idle Chatter (1985). Wergo WER 2010-50 [ i i -b , i i i -d ] .

- just-more-idle-chatter

(1987). Centaur CRC 2076 [ i i -b , i i i -d ] .

- Notjustmoreidlechatter

(1 9 8 8 ) . Ne u ma 4 5 0 -7 3 [ i i -b , i i i -d ] .

- SmaUtaIk (d a t e u n k n o w n ) . Ne w Al b i o n NA 0 3 0 C D [ i i -b , i i i-d ] .

d e L e e u w ,

Ton-Mountains

(1977) fo r bass c larine t and tape . Co mp oser s ' Voice CV 7801 (LP only) [ ii -d] .

Le j e u n e , C l a u d e - Le Cantique des Cantiques (1989). INA C 1011 [ iv -c , a typ ica l case wi th narra t ion].

L e w i s , A n d r e w - Arrivals (1987). Le Ch ant de Mo nde (Bourges) LD C 27804 9/50 [ iv-c] .

- Time and Fire

(1991). Le Ch ant du Mo nde (Bourges) LDC 27805 3/54 [ iv -c] .

Lindgren , P/ i t - Rummet (1980). Phono Suecia PS CD 41 [ i i i ] .

Lucier , Alv in -

Crossings for Small Orchestra and Slow-Sweep Pure Wave Oscillator

(1 9 8 2 / 1 9 8 4 ) a n d

o t h e r w o rk s . Lo v e l y M u s i c LC D 1 0 18 [ i i -b , i i -d ].

- I am Sitting in a Room (1969). L ovely Mu sic LCD 1013 [ i -b] .

M a c h e , F ra n c o i s -B e rn a rd -

Terre de feu

(1963), Candide CE 31025 (LP only) [ iv -a] .

Malec , Ivo - Reflets (1961). IN A C 1000 [ iv -c] .

d e M a n , R o d e r i c k -

Chordis Canam

(1989) for harpsichord and tape .

Le C h a n t d u M o n d e (B ou rge s ) LDC 2 7 8 0 5 3 / 5 4 [ ii -d ] .

M c Na b b , M i c h a e l - Dreamsong (1 97 8 ). M o b i l e F id e l i ty So u n d La b M FC D 8 1 8 [p re a mb l e , i v -c ] .

Invisible Cities

(1985). Werg o WE R 2015-5 01 [pream ble] .

Nib lock , Phi l ] -

Four Full Flutes

(1980, 1983) acoust ic wor k .

Experimenta l In termedia Foundat ion XI 101 [ i i -a] .

N o r m a n d e a u , R o b e r t -

Jeu

(1 98 9 ). i M 4 DIA IM ED -9 0 0 2 -C D [ i v -b ] .

Rumeurs (Place de Ransbeck)

( 19 87 ). i M 6 D I A I M E D - 9 0 0 2 - C D a n d

Le C h a n t d u M o n d e (B ou rge s ) LDC 2 7 8 0 4 6 / 4 7 [ iv -c ] .

Ob s t , M i c h a e l -

Kristallwelt

(1 9 8 3 / 1 9 8 6 ) . We rg o WER 2 0 1 1 -5 0 [ ii i] .

Op p e n h e i m, Da n i e l V. -

Round the Corners of Purgatory

(1987).

We rg o W ER 2 0 2 1 -5 0 [ i ii , i v -b ] .

Oswa l d , Jo h n -

Bell Speeds

(1990). i M4D IA IM ED -90 04- CD [ii --b] .

- Plunderphonics (d a t e u n k n o wn ) . M y s t e ry La b o ra t o ry , To ro n t o

( Th i s C D i s a b so l u t e l y n o t fo r s a l e . ) [ i v -b ] .

Pa rme g i a n i , B e rn a rd -

La crdation du monde

(1982/19 84). IN A C 1002 [ ii -c] .

- Dedans - dehors (1 97 7 ). IN A C 1 0 1 2 / 3 I i - c / rh y t h m , i v -b ] .

- Exercisme 3

(1986). INA C 1 012 /3 an d Le Ch ant du M ond e (Bourges) LDC 278055 [ iv -c] .

- De Natura Sonorum

(1975). IN A C 3001 [ii-c].

- Pour en finir avec Orphed (1971). INA C 1012 /3 [ iv -c] .

- Le prdsent composd ...

(1991). IN A C 101 2/3 [ i i-c] .

- La roue Ferris (1 97 1 ). INA C 1 0 0 0 [ i - c / rh y t h m , i v -c ] .

Pa rme ru d , Ak e - Alias (1990). Le Chant du M ond e (Bourges) LD C 27805 3/54 [ i ii , iv -b] .

P i me n t a , Ema n u e l Di ma s d e M e l o -

Rings

(1989). mode 21 [ i i - b ] .

R e d o l f i M i c h e l - Pacific Tubular Waves (1 97 9 ) a n d o t h e r De se r t T ra c k s . INA C 1 0 05 [ i v -a ].

Risse t , Jean-Claude - Songes (1 97 9 ) W e rg o WER 2 0 1 3 -5 0 [ i i-d ] .

Sud

(1 98 5 ) INA C 1 0 03 a n d We rg o WER 2 0 1 3 -5 0 [ i v -a ].

Sa v o u re t , Al a i n - Don Quixo tte Corporation, a Loud Speaking Melodrama (1 9 8 0 / 1 9 8 1 ) .

We rg o WER 2 0 2 1 -5 0 [ i v -b , i v -c ] .

Sc h a e f fe r , P i e r re a n d P i e r re He n ry -

Symphonie pour un homme seul

(1950)

a n d P . H e n ry ' s r e v i s i o n o f t h e i r 1 9 5 1, 1 9 53 wo rk , Orphde ent i t led

- Echo d Orphde, pour P. Schaeffer

(1 9 8 8 ) INA C 1 0 0 6 / 9 [ i v -c ] .

Scheid t , Danie l - Squeeze (1990) for bass c larine t and in te rac t ive system (there i s no tape part) , i M~D IA

IM ED-9 1 0 5 -C D [ i i -d ] .

Schot t s taed t , Wi l l iam -

Water Music I

(1 9 8 5 / 1 9 8 6 ) . We rg o WER 2 0 1 6 -5 0 [ i - c ] .

Sc h re y e r , C l a u d e - Les oiseaux de Bullion (1 9 9 0 ) . i M d DIA IM ED-9 0 0 4 -C D [ i v -a , i v -c ] .

(see a l so Chris t ian Calon)

SmaUey, Denis -

Clarinet Threads

(1 98 5 ) We rg o WER 2 0 2 6 -2 a n d

i M d D I A I M E D - 9 2 0 9 - C D [ ii -d ] .

Pentes

(1974). Ode Records (New Zealand) CD MANU 1433 [ ' t i i ] .

- Valley Flow

(1 9 9 1 / 1 9 9 2 ) . i M 4 DIA IM E D-9 2 0 9 -C D [ i ii ].

- Wind Chimes (1 98 7 ). W e rg o WER 2 0 2 5 -2 a n d i M 4 D IA IM ED -9 2 0 9 -C D [ ii i] .


13/13

60 L L a n d y

St o c k h a u se n , Ka r l h e i n z - G e s a n g d e r J f m g l in g e (1955/1956). [Stockhausen [Verlag]] 3 [ i i i1.

Su b o t n i c k , M o r t o n - Jacob ' s Room (1969) and T o u c h (1 98 6 ), t wo re p re se n t a t i v e e x a mp l e s .

We rg o W ER 2 0 1 4 -5 0 [p re a mbl e] .

Ta k e mi t su , To ru - W a t e r M u s i c (1960). JVC 1009 [ iv -a] .

Te i t e l b a u m, R i c h a rd -

G o l e m I

(1987). Centaur CRC 2039 [ iv -c] .

Truax , Barry - R i v e r r u m (1 98 6 ). W e rg o WER 2 0 1 7 -5 0 a n d

Le C h a n t d u M o n d e (B ou rge s ) LDC 2 7 8 0 5 5 [ i i -b , i v -a ] .

- T h e W i n g s o f N i k e

(1 98 7 ). Pe rsp e c t i v e s o f Ne w M u s i c PNM 2 8 [ i i -b , i i -d ].

Va g g i o n e , Ho ra c i o - T a r (1987) for bass c larine t and tape .

Le C h a n t d u M o n d e (B ou rge s ) LDC 2 7 8 0 4 6 / 4 7 [ ii -d ] .

T h e m a

(1 98 5 ) fo r fo r a mp l i f i e d b a ss sa x o p h o n e a n d t a p e . We rg o WER 2 0 2 6 -2 [ i i-d ] .

Var6se , Edgard - Po~me dlectronique (1 9 5 7 / 1 9 5 8 ) . N e u m a 4 5 0 -7 4 [ iv -c ] .

Vi ~ a o , Al e j a n d ro -

Chan t d 'a i l l eur s

(1 9 9 1 / 1 9 9 2 ) fo r v o i c e a n d t a p e .

Prix Ars Elec t ron ica 92 (Linz: Radio OberOsterre ich) [ i i -d ] .

- Go (1981). Fy lk ingen FYLP 1026 (LP only) [ i i -d ] .

Wa i sv i sz , M i c h e l -

T h e H a n d s

(1 98 6 ), a l i v e p e r fo rma n c e wo rk . W e rg o WER 2 0 1 0 -5 0 [v ].

We sse l , Da v i d - A n t o n y (1977). Wergo WER 2030-2 [ i i -b ] .

We s t e rk a mp , Hi l d e g a rd -

B r e a t h i n g R o o m

(1 99 0 ). i M ~ DIA IM E D-9 0 0 4 -C D [ i v -a , i v -b ] .

- Cr i cke t Vo ice

(1 98 7 ). Ea r Ab so l u t C D n o . 1 a n d Th e A e r i a l 2 [ i v -a ] .

Wh i t e , F ra n c e s - S t i l l L i f e w i t h P i a n o (1989) for p iano and tape . Centaur CRC 2076 [ i i -d ] .

Wi sh a r t , T re v o r - R e d B i r d (1 9 7 3 / 1 9 7 7 ) . Oc t o b e r M u s i c Oc t 0 0 1 I l l -d , i v -c ] .

V o x - 5

(1986). W ergo WER 2024 -50 and Virg in Classics VC 7 9110 8-2 [ i i-d ] .

Xenakis , Iannis M y c e n a e - A l p h a (1978). Neuma 450-74 [ i i -c] .

Zan6si , Chris t ian -

C o u r i r

(1989),

Pro f i l - D ds i r

(1988),

S top l ' hor i zon

(1983).

IN A C 2001 [ iv -c] .

- D ' u n j a r d i n ~ l ' a u t r e (1982). INA C 1000 [ iv -c] .

landy - 1994 - the “something to hold on to factor” in timbral composition

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