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This article was downloaded by: [University of Birmingham]On: 25 November 2013, At: 06:47Publisher: RoutledgeInforma Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House37-41 Mortimer Street, London W1T 3JH, UK
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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
To link to this article: http://dx.doi.org/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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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
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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
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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 ] .
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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] .
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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
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- Valley Flow
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- 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] .
-
7/23/2019 Landy - 1994 - The Something to Hold on to Factor in Timbral Composition
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 .
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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
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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
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Prix Ars Elec t ron ica 92 (Linz: Radio OberOsterre ich) [ i i -d ] .
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Wa i sv i sz , M i c h e l -
T h e H a n d s
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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
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- Cr i cke t Vo ice
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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 ] .
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V o x - 5
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Pro f i l - D ds i r
(1988),
S top l ' hor i zon
(1983).
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