1. P-ART: ENAMELA for sound objects (1984) 6:27

P-ART (Belgium) composed Enamela sound on sound with his tape recorder Revox B77(incl. varispeed control). Three unopened cans of paint (black, blue, red) wobbled and collided in the hollow of his two hands together. This intuitive composition is a bio-organic flow of listening and interaction, very intensely and intimately alive with the tones thrown into the palm of his hand. “If I want to recognize music as a living organism, I accept that this music has its own physiognomy. The unpredictable overtones in my palm are fascinating.” In the case of Enamela, instead of listening with a Western-trained ratio to a structural sound process, you need a completely unconventional surrender to track down the 'meta' dimension in this
music.
P-ART website: www.p-artweb.net

2. Margaret Leng Tan: ABOUT NOAH’S BOAT OF ANTS for two toy pianos and two hands (2000) 9:02

Alex Nowitz (Germany) created About Noah’s Boat of Ants for Margaret Leng Tan toy piano artist par excellence (Singapore/USA). Premiere performance for the exhibition “Faszination Klavier” in the Music Instruments Museum SIMPK Berlin, December 10th, 2000. Audio engineer: Hans-Reinhard Wirth. Nowitz: “Every summer my apartment in Potsdam is attacked by ants. In their attempts to take over my desk and scores they literally became part of the composing process. Lots of large animals has been part of Noah’s rescue. However, there must have been ants here.” The introduction to the first movement presents the ants entering the boat. The performer knocks his knuckles on the various wooden surfaces of the toy piano. Margaret Leng Tan worked out a clear choreography by hitting different parts of the hand and fingers to produce a variety of timbres. Following the wooden opening, all the different classes of the ant population try frantically to secure their places on the boat. Only the toy grand piano can be heard in the first movement. The second movement is dedicated to the ant queen of the colony. The left hand crawling over the toy grand piano accompanies the decisive melody of the right hand on the toy upright. The last movement is about water, beginning with a tickle and culminating in a flood. The ants are rescued and they disembark.
More: www.margaretlengtan.com

3. Baudouin Oosterlynck: LA GLOIRE Opus 24 for voice and piano (1977) 4:26

In 1977 Baudouin Oosterlynck (Belgium) recorded an amusing piece of music, a kind of conversation piece without conversation, only the commentary with a few individual notes opposite. He liked to draw attention to the sounds that people never pay attention to. And to stop the conversations. This piece is about the conditioning of the audience that is gullible in the concert hall. “I have an idea to compose a piece of music in which there are only tables and chairs. In 1984 I made a recital in which a certain number of guests sit at the table, leave the table, sit down at the table again and move their chairs continuously."
Look at p-artweb.net/P-ARTWEB/5OOSTERL/OOSTERL.htm

4. Clarence Barlow: OTODEBLU for piano four hands or player piano (1990) 4:13

Clarence Barlow (lives in Barcelona) composed “otodeblu” using his computer music program Autobusk on Atari 1040 ST created by himself. Autobusk is a program for the real-time probabilistic generation of MIDI signals, primarily note-ons and -offs in parallel note streams. Scales and metres serve as main input material, on which twelve variable parameters (such as metricity and tonicality) can work on-line to form the MIDI output. Barlow: In any case, otodeblu is Japanese, I am told, for ‘coloured blue by sound’ and simply came to me ‘out of the blue’.
More about Clarence Barlow: clarlow.org

5. Moniek Darge: PARTS FOR PAUL for voice and soundscape (2001) 4:50

Moniek Darge (Belgium), part of the LOGOS Foundation Ghent, built light and sound sculptures, installations, musical instruments and alternative music boxes. She made field recordings all over the world.
“Parts for Paul” is a cyclic soundscape composition around the theme of the turning wheel-works. A clear girl's voice (Yumiko Switters) sings a Japanese song about the natural power of the mother and becomes one with the cyclic sounds of the wheel-works recorded in the Zwalm region of Belgium. Darge: "For example, we hear the crackling and groaning of wooden wheels from the numerous watermills, in addition to the more industrial iron sounds of conveyor belts from Roborst's brick factory and the stacking ovens of this region."
Website of Moniek Darge: logosfoundation.org/index-mon.html

6. Klaus Runze: IN THE FIELD OF ORION for two diagonal tuned grand pianos (1990) 7:48

Pianist Klaus Runze (Germany) plays on two grand pianos at the same time. The left piano (for left hand) is tuned a quarter tone lower than the right piano (right hand). In this way, when the pianist plays with two hands at the same time, the pianist joins two instruments tuned by Thomas Henke by damping, coloring,
friction, dynamic gradation of different tonal scales, reflecting the constellation of Orion. 'In the field of Orion' is an excerpt from the concert 'Interferences on the piano diagonal in the hall of the State Conservatory of
Music in Cologne 1990, April 10.
Website: www.klaus-runze.com

7. Alvin Curran: GENETICALLY ALTERED RADIO (2000) 6:44

Alvin Curran (USA/Italy) designed Genetically Altered Radio (GAR) in collaboration with Nicola Bernardini and Domenico Sciajo. Alvin Curran first presented GAR as the opening event of the Donaueschingen festival in 1999. He used hundreds of samples selected from the 75-year archive of the festival itself as raw materials that transform the system (TKT) into a constantly evolving sonic "self-portrait". The CD fragment is based on source material recorded at the end of December 2000 from various moments from a day’s broadcast of Radio 3 Suite on the Italian RAI 3rd program. GAR is radio for the new millennium. Radio made of every sound event heard in a broadcast facility - from the plumping to the espresso bar in the mensa, from live board meetings to cursing sound editors, to any recorded fragment from the daily broadcasts or from archives. The sounds are then stripped down to their molecular origins and like raw cells are redesigned and recombined into entirely new and self-propagating sonic creatures. And all this without any human intervention. Only two computers (= Mac G3 with MSP and a PC/Linux with C-Sound) are active whose
single mission is to take any digitized sound of any duration and create a brilliant sonic universe with it.
Link: www.alvincurran.com

8. Laurie Spiegel: CONVERSATIONAL PAWS (2001) 5:09

Laurie Spiegel (USA) recorded “Conversational Paws” ‘performed’ by The Canis Cantabilis Duo in 2001. This music piece is a several uninterrupted minutes of growling steadily, the sounding interaction between Spiegel’s 6-year-old dog (at that time) and her neightbor’s yearling dog Nellie. The choice of dogs for the basis of this piece had to do with the dog theme of Laurie Spiegel’s page on the P-ARTwebsite (p-artweb.net/P-ARTWEB/8SPIEGEL/SPIEGEL.htm ): “Dogs have always sung me all kinds of doggy music and have sung along with mine too from time to time. I wish I could hear like a dog, if only for a few minutes, to experience their level of hearing, so far beyond our own in acuity.”

9. Sabine Schäfer//Joachim Krebs: SOUNDMILIEU III (1999) 5:42

Sonic Lines N' Rooms" is the project series that combines different types of spatial sound installations, directed by the duo Sabine Schaefer / Joachim Krebs (Germany). The raw material is amorphous, animal-natural calls and sounds as well as heterogeneous everyday noises from the human environment. In this electro-acoustic spatial sound composition, direct vocal sounds and synthetic sound materials are excluded. Noises and sounds are registered with a digital sampler and thus the basis for sound checks of organic sound webs (EndoSonoScopy). Previously imperceptible inner polyphonies and harmonic sound fields of inner resonance spaces become audible. What happens is a revelation and externalization of the inner intensities of the respective sounds. Through various transformations, artificial spatial sound environments are formed during an amalgamation process. The piece included in this digital album is Sound Milieu 3.
Link:http://www.sabineschaefer.de/

10. Carl Bergstrøm-Nielsen: HOMMAGE DE L’ESPACE for organ (1997). 8:20

Fascinated by the resonating aspect of classical organ concerts in large spaces, Carl Bergstrøm-Nielsen (Denmark) created an open composition for classical organists who can interpret the score and deal with the space of the organ sound. Section A of the piece consists of a number of single notes spread out on the score. “Play an element. Make a rest of any length while listening to the resonating organ sound. Play one more element. Don't plan in advance.” The performer listens and builds up the music from a small sound together with the pauses: the music listens to the space. In section B, the music is shouting into space. The organist has to play 21 short elements and some pauses. Towards the middle the calmer and static elements are placed, towards the ends of the paper the more dramatic. In Section C the organist works around 8 notes in a circle with alternating numbers 0,4, 5 and 6. 0 is pause. This music is
static and takes up space. In 2000 Bergstrøm-Nielsen recorded "Hommage de l'Espace" performed by Christian Præstholm at Ansgars Church in Aalborg (DK).
Website of Carl Bergstrøm-Nielsen: intuitivemusic.dk/intuitive/cbn.htm

11. Ward Weis: MEAGRE SECONDS for digital instruments (2001) 5:00

Ward Weis (Belgium): “The second is defined as 9 192 631 770 times the period of the electromagnetic wave that belongs to the modulation between the two hyperfine levels of the basic condition ground-state of the caesium - isotope 133 Cs. This is a pure scientific description. My piece is called “Meagre Seconds” and not “9 192 631 770”. It sounds to ‘composer-like’ to me. Then, one minute of silence follows. One minute is 60 seconds. 60 seconds is 551 557 906 200. One minute of silence on a CD may take a long time: those who want to drop out, drop out; those who continue to listen will receive the sequel. Then you get to hear one second. What follows is 2 000 000 000 000 times what I call "no-tone" instead of o-tone (= original tone): the sound of all days, what we listen to when we're not listening to something specific: sound staring.” Weis: I work completely digitally. My ears are made by ‘Weis’.

12. Dominique Vermeesch & daniel duchamP: P-ART’ICLES (2001) 5:59

With synthetic sounds displayed in different layers, daniel duchamP (Belgium) builds bridges to the experimental work "Mes Perceptions" created by Dominique Vermeesch (Belgium). Vermeesch: “Ultra cosmic space crosses me and I intercept all interferences announced in terms of sonic, organic, sensual waves. It is a poetic biotope that emerges the life of dreams. Aleatory and spontaneous elements are part of my poetic side. I use innovative instruments in the field of spatiality: microscope, camera, synthesizer, microphone, electro-acoustic sound.”
Website of daniel duchamP: www.daniel-duchamp.be
Website of Dominique Vermeesch (do.space): dominiquevermeesch.be

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