In this essay, the author examines the relation between computer music language and the musical language that is a product of its use. He presents an argument that behind new ‘styles' of computer music lie new compositional processes and new ways of thinking about sound which can be traced back to the specific computer music software that is being used. He illustrates his discussion by presenting an account of the composition of his four-channel tape work Solar Ellipse (1984-85).
Computer Music Language Design and the Composing Process
The Language of Electroacoustic Music. London: Macmillan, 141-153.