Sound Plasma

Radulescu wrote three main theoretical texts on his own music. The first Sound Plasma is a small book; the other two (Musique de mes Univers and Brain and Sound Resonance) are articles. These are described below. Smaller or occasional writings, including program notes to his compositions, will be added to this website in due course.

Sound Plasma: Music of the Future Sign (1975)

Sound Plasma is a theoretical text, a prose composition, and a piece of music simultaneously. (In its musical incarnation it has the title My D High opus 19∞.) The text itself was completed in 1973 and is dedicated to Bjarne Ruby of the Institute for Future Studies in Copenhagen. At one time it was intended as a Ph.D submission at the Sorbonne (in Semantics and Musicology), but was never completed in that form. As published by Edition Modern, the theoretical text is overlaid with what Radulescu called “stardust poetry”, much of it very beautiful, that opens up further interpretative possibilities. An essay on Sound Plasma by Bob Gilmore is in preparation. Sound Plasma may be ordered through Lucero Print.

“Musique de mes Univers” (from Silences 1 1985)

This text, written in Versailles and Rome in spring 1985, expands upon some of the ideas in Sound Plasma while adding new material and a discussion of some of the works Radulescu had composed in the meantime. The text is reproduced here by permission: an English translation is in preparation.

“Brain and Sound Resonance: The World of Self-Generative Functions as a Basis of the Spectral Language of Music”
(in Annals of the New York Academy of Sciences, Vol. 999   ISBN 1-57331-452-8, December 2003, pages 322-363).

This substantial article was first delivered as a conference paper and put into definitive form for publication in the Annals of the New York Academy of Sciences. The Abstract reads as follows: “The author discusses the ‘preferential phenomenology’ of sound spectra. Most interesting have been the sound relations that result from special filtering according to ‘rings’ of resonance. Mathematical operations are required to describe this filtering of frequency multiples-spectral components-producing sum and difference tones. With new harmonic formats, a new phenomenological vocabulary of music is achieved that evolves far beyond its historical language”.
The article may be acquired through Lucero Print.