the pitch contours of the speech can be altered independently of the speed. Each of the six movements explores a different aspect of speech. This led to a series of "chatter" pieces, Idle Chatter, etc. that fragment the speech into a percussive rap-like texture. Other projects included folksong settings (Folk Images), a portrait of a woman (Things She Carried), a contemplation of letters and numbers (Alphabet Book), sounds of the highway (Night Traffic, Ride), blues harmonica, electric guitar, piano improvisation and casual conversation. The bulk of his approximately 70 electronic compositions are contained on ten solo CDs (see Discography). While there are a few pieces for electronics and live instruments the bulk of Lansky's pieces are recorded "tape" pieces. Lansky's works have attracted interest in various realms. They have been used by dance companies (Bill T. Jones, Eliot Feld Ballet, New York City Ballet). His works frequently have a rhythmic "groove" that is attractive to dancers. In 2000 he was the co-subject (along with Francis Dhomont) of a documentary film made for the European Arte network by Uli Aumueller, My Cinema for the Ears that deals with the use of natural sounds. A four-chord sequence from Lansky's first large computer piece Mild und leise (1972) was sampled by the English rock band Radiohead for the track "Idioteque" on their 2000 Kid A album. Software Lansky used any available computing hardware: IBM mainframes at first (1966–84), then mini and micro computers by DEC, (1984–89), and finally personal computers by NeXT, Silicon Graphics and Apple Computer. During the mainframe era computer time was scarce and expensive, and this prompted Lansky to write his own software package called Mix, in Fortran. This made it easier to assemble a composition voice-by-voice, section-by-section, even note-by-note, avoiding large expensive runs to create an entire piece at once. Mix had no scheduler (meaning that it could create notes in any order) and thus was not suitable for real-time synthesis. Mix used additive writes to the output device, analogous to overdubbing on tape. When the move was made to minis and micros, Lansky ported Mix to the C programming language and called it CMix. During the late 1990s a group led by Brad Garton at Columbia University created a version with a scheduler, RtCmix, that was capable of real time synthesis. Starting in the mid 1990s Lansky used a well-known software package called SuperCollider. Programs like Cmix and