Batuhan Bozkurt: Recoherence, 2010
Duration: 30 minutes
Recoherence is a meta-model formulated as a computer program that is responsible for the synthesis of the sounds ranging between “digital sample” and “sound object” time scales, and the assemblage of the temporal form ranging between meso and macro time scales. Just as the The Morning Line itself, Recoherence does not have a single entry and exit point. The musical structure and the sounds are created using recursive and stochastic processes (on all aforementioned time scales) and a proxy for a sonic experience is created. Even though a single rendition is defined as a static entity in time, The Morning Line, as a musical instrument, comes to rescue for breaking this static path for all the listeners it hosts.

Bryce Dessner, David Sheppard, Evan Ziporyn: Propolis, 2008
Duration: 40 minutes
Propolis explores the idea of The Morning Line as a sonic instrument and live performance environment by combining prerecorded spatialized sound and generative MAX/MSP software patches with composed and improvised live bass clarinet by Evan Ziporyn. A multi-layered, non-linear composition with a palindromic form based around the order/chaos continuum, the work uses the scaleable 8:3 ratio applied fractally in the architecture to generate several different rhythm devices, as well as the cyclical thematic basis of the structure as formal inspiration. Six interchangeable movements, each with different sonic and spatial properties and different software patches, migrate from recognizable sounds to chaotic/threatening sonic activity.

Cevdet Erek: Neither the time nor the place for dancing (NTNPD), 2010
Duration: 30 minutes
The Morning Line is being used as a tool in NTNPD in order to create experience in: 1. short and defined duration and semi-open disco / 2. polyrhythmia of different spaces, reaction of living creatures to them, spatio-rhythmicality / 3. stereo, fake (acoustic and cultural) diffusion, spatial sound / 4. dividing of “international style” dance time signatures into molecules / 5. dividing of regional dance time signatures into molecules / 6. reassembly of molecules into ¨shortest danceable units¨ and patterns / 7. measured quietness / 8. converting real people, goods, and events from the square into sound objects: real and its recording / 9. 4/4, 4.5/4, 9/8, / , 0.5/24, etc. / 10. Süleymaniye as background, The Morning Line in focus, geometries and volumes / 11. application of cardiac arrhythmia into new rhythmical patterns and so forth

Mark Fell and Roc Jiménez de Cisneros:
A very short proof of Forester's rigidity result, 2008
Duration: 40 minutes
When asked, "why doesn’t your sound move from speaker to speaker?" prominent sound artist Yasunao Tone replied, "why is this necessary when the audience can move around the sound?" A very short proof of Forester's rigidity result develops this position: rather than moving around the audience, as is typical of multispeaker pieces, here the sound itself is rigid. The listener is placed within and moves through a complex matrix of digital oscillators, each producing one component of the overall sound: a series of precisely synchronized and desynchronized pulses, each one static in a spatial dimension but evolving in a harmonic one. (MF / RJC)

Ghostigital: Cannibal in Tuxedo (internal/external), 2010
Duration: 29 miuntes
For those new to the sonic world of Ghostigital, you should know that there doesn’t seem to be any floor plan to the music, even though there is architecture. It’s best you just relax, release preconception, don’t think or analyze too much. Here’s an idea: let us do the analyzing so the thoughts don’t get in the way of your listening experience. Know the music will come to you the way it wants to; you are not in control.

Bruce Gilbert: ab intra, 2008
Duration: 30 minutes
Through association and dissociation, in musical production and theory, ab intra questions the reconfiguration of a space through a singular composition and introduces a swarm of pieces. Bruce Gilbert describes his work for the pavilion as an almost living, breathing organism. Sculpted from a multitude of sonic miniatures in Gilbert's unique editing style, ab intra eschews a linear narrative structure. Instead he employs a placement of sound where multiple perspectives and multiple possibilities are the rule, not the exception, arranged in situ in the pavilion. Musical structure can exist, in a sense, “outside” time, in the sense of abstract structuring principles whose definitions do not imply a temporal order. (FH)

Carl Michael von Hausswolff: No Rest Even for the Static (Matter II), 2010
Duration: variable
The piece consists of 24 tracks which are played simultaneously and as each track has its own special duration, the outcome, the combination of tones, never will be the same. The title indicates an interest for solid state phenomena. It proposes a movement within all matter, physical as psychical and also discusses the function of aging including both the physical bodily transformation and the psychologically unclear ideas of the self being a solid matter or not. These sounds do not ask for the listeners ability to treat it as music only, but also ask for a capacity within the listener to fully encapsulate him- or herself in this artificial form of "give and take," using both the intellectual and the emotional properties given.

Florian Hecker: Rotating psychoacoustic tuning curves, 2008
Duration: 40 minutes
The piece starts with an emission of a superabundance of complex noises, synthesized by an “improved” version of the Xenakian technique of the dynamic stochastic synthesis. In a synchronistic prelude these streams of sounds penetrate the open cell structure of the pavilion before a slowly evolving shift of audible perspective embarks and the movement of sound is structured by patterns shaped in the style of Heinrich Klüver's form constants. The spatialization of sound will mutate once more with crescendos of threshold-equalizing noise (TEN) bursts, before the final part of the piece offers a drastic restructuring in sound and spatial movement with a short sequence of nonmusical tones, as employed in the perceptual psychology experiments of auditory scene analysis. (FH)

Erdem Helvacıoğlu: Timeless Waves, 2010
Duration: 45 minutes
The piece complies of six movements, symbolizing and delivering the six basic human emotions: Love, joy, surprise, anger, sadness and fear. Sine wave is a smooth repetitive oscillation. By definition it is pure, simple and direct. It has a timeless form of its own. Similar to the sine wave, the unique handmade, futuristic, hybrid electric guitarviol also has a timeless timbral quality that features both the cello and the guitar. The combination of these two timeless forms, and their processed timbres create a soundworld that leads us to The Morning Line. (EH)

Jónsi & Alex: All Animals, 2008/10
Duration: 30 minutes
Faraway melodies floating in and out from places we feel are familiar but do not recognize. Is it singing? Is it piano? Is it the animals and trees creaking about in the wind? There is magic within the stillness. We long to start over, use all that is around us to build new beginnings. For some this is the end, but for us it is a second chance, a hope to create harmony and endless possibilities … All Animals recorded in Reykjavik, Iceland, with acoustic instruments, primarily piano, voice, and animal sounds. (JTB / AS)

Mehmet Can Özer: Katpatuka, 2010
Duration: 31 minutes
The piece is based on the concepts of memory, possession, and belonging. From a landscape of nothing to an ocean, then its transformation to an inland sea to that of volcanic eruptions, from mountains to erosion, from deep valleys to extraordinary fairy chimneys, from no name to Katpatuka to Cappadocia. These physical and cultural layers embody the sound environment and have become the sound environment itself. The aim of the piece is to be able to simulate these processes of change in Cappadocia with original sounds from the district combined with fictive ones.

Lee Ranaldo: Maelstrom, 2008
Duration: 30 minutes
Maelstrom is a multi-channel soundscape that, following on the heels of Ranaldo’s 2005 DRIFT project in collaboration with Leah Singer, utilizes elements extracted from that work to create a wholly new piece. Ranaldo has taken some sonic details—tonal clusters created with electric guitar—from that project and used them as the basis for a sprawling, seemingly static state of guitar bedevilment. While there are many subtle shifts going on within the sound field, the overall effect is meant to be a rather sustained, monolithic sonic cloud—indeed, a maelstrom—real brain-eraser type stuff to erect a series of loud chambers within The Morning Line, within which one might think silent thoughts.

Yasunao Tone: Raining, 2010
Duration: variable
Yasunao Tone’s piece which is triggered interactively by the visitors of The Morning Line, consists of recordings of rain and of computer voices reading Guillaume Apollinaire's calligramme poem “Il Pleut" (1916) in French and in English, which fall down the structure like rain. “I was seeking a form that corresponds with The Morning Line and thought that emulating Apollinaire's calligramme with Matthew Ritchie's sculpture is interesting. So, I let the sound of precipitation rain inside the structure. The audience can listen to the illusion of rain and even visualize it.“

Chris Watson: Snaefellsnes, 2008
Duration: 32 minutes
Recorded on location in Iceland, this composition, which resonates throughout the structure of The Morning Line, captures the atmosphere, mystery, and elemental forces of the remote Snᴂfellsnes Peninsula, home to the Snᴂfellsjökull volcano. The audience is invited to enter and browse within this unique acoustic landscape, which was recorded in surround sound at the time of the midnight sun, before being drawn up the mountainside into the crater and transported toward the center of the earth. (CW)

Thom Willems: Das Gewicht von Licht, 2008
Duration: 35 minutes
“A conductor-composer coaches three trombones-composers through a maze of composer-composed improvizations. This rich flux beam stream of sound is refracted through the artificial gravity lens of digital-composer evolutionary process.” (TW)

Jana Winderen: Between Dry Land, 2010
Duration: 37’
Soundscapes under the surface, invisible but audible – soundscapes which have evolved from the beginning of time. The acoustic environment of the oceans is an essential component of life for the creatures inhabiting the seas. Sounds from the environment, like the cracking of ice fifty meters under the surface of Disco Bay (Greenland), violent waves against the shores and beaches announce to the fish that the shore is close by. Underwater mountain chains in the Atlantic Ocean echo the calls of sea mammals. Soundscapes provide a three-dimensional “view” of their world. As species die out so also does their sound imprint, without us knowing they were ever there, before we are even close to understanding them or their habitats.

Peter Zinovieff: Bridges from Somewhere and Another to Somewhere Else, 2010
Duration: 43’
Bridges from Somewhere is a set of contrasted electronic music pieces with impossible derivations from snatches of classical music and textures of real sounds. The Bridge to Somewhere Else uses multiple fragments from some of Béla Bartók’s 1936 Edison Phonograph recordings of Turkish folk music, which is a collection among Jürüks in Anatolia. In all the sections similar but wild electronic distortion techniques are used to glue them into a single work.