Dante Tanzi (1951), graduated in Philosophy from Milan University and went on to study electronic composition and musical analysis. Since 1985 he has been working at L.I.M.(Musical Informatics Laboratory), Computer Science Department, Milan University. The research conducted at L.I.M. is primarily concerned with the formal description and synthesis of musical processes and the development of tools for multimedia performances. Heritage (1998) has been carried out with quite old equipment: Yamaha TX802 and CX5 synthesizers for managing FM sounds, and an 8-bit card for additive synthesis, whose managing programs run on Apple II Digital reverb was Lexicon LXP5. Procedure: Not written by a text editor, but played and edited track after track on a sequencer, while settling and tuning FM sounds. The additive (non-MIDI controlled) sounds, instead, have been settled in form of micro loops (less than 1/2 second) on three tracks, sped up150 times, and finally processed with a Roland chorus. They appear after 4'30" and after 5'30" until the end.

Fernand Vandenbogaerde (b. 1946, Rombaix) fait des études scientifiques dans les Facultés de Lille et de Paris: classes de M. Beaufils, J.P. Guezec et O. Messiaen. Il suivra les cours de P. Schaeffer et le stage du GRM, puis les cours de composition de Cologne et de Darmstadt avec K. Stockhausen, G. Ligeti, et de direction d’orchestre avec B. Maderna. Ses oeuvres on été créées dans les principaux Festivals français de musique contemporaine ainsi qu’à l’étrangerr. De 1976 jusqu’en 1997, il a assuré la Direction de l’Ecole National de Musique et de Danse du Blanc-Mesnil. En Mars 1997, il est nommé Inspecteur à la Direction de la Musique au Ministère de la Culture. Vocalis (1989) a été réalisée dans le stuio personnel de l’auteur en 1989 simultanément à une pièce pour récitant et bande magnétique ...Selon Saint-Just...; certains éléments sont communs aux 2 oeuvres. L’absence de la voix en direct en Vocalis (contrairement à l’autre) m’a fait choisir des sons et des éléments que de la forme générale (d’où le titre).

Juan Pagan (b. 1955, Madrid) has a teaching diploma in advanced harmony, counterpoint, composition and orchestration from the Real Conservatorio Superior de Música de Madrid. He studied with Carmelo Bernaola in Spain, with Franco Donatoni in Italy, and with John Celona at the University of Victoria, British Columbia, in Canada. Author of 50 works, including the radiophonic opera "Estamos en el aire" with text by the Spanish author Leopoldo Alas, three symphonies, chamber and solo as well as electroacoustic music. In 1984 he was awarded the Prix of Rome by the Ministry of Foreign Affairs of Spain. He co-founded and was member of the Executive Board of the Electroacoustic Music Association of Spain (AMEE) and the Compousers Association of Madrid Community (AMCC). Currently he is a teacher of Composition at the Conservatory of Alcalá de Henares (Madrid) and leader of the teaching sector of the Comisiones Obreras Union in Madrid Community. The Silent Scream was composed in 1986 at the laboratory of the School of Music at the University of Victoria, B.C., in Canada. This work was premiered at the Recital Hall of the Music Building of the University of Victoria. In some moment the sound is going up, by a glissando, until any human person can hear anything. For a few seconds the frequency of the sound is so high that the music became like a scream in the silence. The music can be on the silence and the silence can be on the music. Some day our music will be played over own eternal silence. Poetry, philosophy, music, art... four columns of my live but my mind is dancing like a leaf on the wind.

John Winiarz, compositeur montréalais et professeur de musique à l‚Université Concordia, est l'auteur d'approximativement 50 compositions vocales, intrumentales et éléctroacoustiques. Sa musique a été interprétée aux festivals de musique nouvelle à Amsterdam, Darmstadt, Athènes, Bourges et São Paulo. Présentement, il compose une série d'oeuvres qui explore des éléments du romantisme, la mythologie et les cultures à travers le monde. Sonic Arches (1985) for electroacoustic soundtracks was inspired from viewing an eleventh century romanesque stone bridge at Puente la Reina, Spain. This venerable hump-back bridge has been trodden by a countless number of pilgrims on their way to Santiago de Compostela. The composition uses scales tuned microtonally in third-tones, sixth-tones, ninth-tones and twelfth-tones (giving 18, 36, 54 and 72 notes within an octave) and was realized using the Synclavier II synthesizer at the McGill University electronic music studio.

Rosemary Mountain was born in Montreal (1954) but at age 9 moved with her family to India and then the US. She returned to Canada at age 16 and in 1975 moved to Nova Scotia to study art. There she met Harry Mountain, sculptor, and the two have been exploring Canada and Western Europe ever since, usually in the guise of studying or, more recently, teaching at a school or university. They returned to Montreal in 1999 and Rosemary is now teaching electroacoustics, composition, and theory at Concordia University. She is currently President of the CECommunity and a member of the new research institute in media arts and technologies, Hexagram. Although her first works in the electroacoustics field date from 1979, she has spent most of her compositional energies in the last decade on acoustic music, due to the inaccessibility of studio space and equipment. She is now discovering the joys of digital processing on a laptop computer with Cool Edit Pro and AudioMulch. Linear LR was composed at the request of Liselyn Adams for a concert with Roddy Ellias in 2001. A score for the two acoustic instruments was created and then recorded; subsequently, fragments of the recording and other samples of acoustic sounds produced by the composer on household objects and folk instruments were digitally manipulated and arranged into an accompanying track. Bits & Pieces: study for a self-portrait is constructed through the manipulation and superposition of fragments from several previous acoustic compositions. The little piece was an answer to a request to produce a very short example of current activity in digital art for a showcase, but ironically there was no audio system available for play. It was premièred at the HTMlles festival in February 2002, and has since been extended by another few seconds. Eddies in the River of Memory was composed during 2001-2002 by means similar to those of Linear LR and Bits & Pieces.

Rod Ellias holds a Master’s degree in composition from the Université de Montréal and has over thirty years of performance experience. He has had the good fortune of playing with many fine musicians and with ensembles as varied as the National Arts Centre Orchestra, the Montreal Symphony, Chelsea Bridge and the Johnny Dankworth Quartet. Recent recordings include The Moon Gives Out the Stars, Whale Spirit Rising, Bonedance, The Guitar Music of Wolfgang Bottenberg.

Liselyn Adams came to Canada in 1979 after finishing her studies at the New England Conservatory, Boston University, and the Royal Conservatory of The Netherlands. Equally at home on the modern and baroque flutes, she has performed as principal flutist with the Studio de musique ancienne de Montréal, the Carl Philipp Ensemble, Les Nations de Montréal, the Blue Rider Ensemble and as a guest soloist with many ensembles. She is one of the founding members of The Blue Rider