Radulescu wrote three main theoretical texts on his own music. The short book / treatise Sound Plasma: Music of the Future Sign (currently unavailable for purchase); and the articles “Musique de mes Univers” (published in Silences 1, 1985) and “Brain and Sound Resonance” (Annals of the New York Academy of Sciences).
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 is currently out of print, but we are in contact with the current rights holder looking to re-issue this work.
Musique de mes Univers (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.
Download a PDF of this text here.
Brain and Sound Resonance: The World of Self-Generative Functions as a Basis of the Spectral Language of Music (2003)
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.”
DOI: https://doi.org/10.1196/annals.1284.043
Read the full text of this article here.