François Bayle's Toupie Dans Le Ciel  (1979) is an important source of inspiration for my work. Bayle used recorded sounds of a spinning top as well as electronic fluxes (created through tape manipulation) to create micromelodies with intervallic pitch relationships, as well as drone landscapes (dronescapes). Despite the fact that Bayle did not use recordings of real airplane sounds for this work, as I did for my work Icarus, Bayle’s sound manipulation techniques resulted in the creation of airplane-type ascending or descending contour  spectromorphologies.
Toupie Dans Le Ciel includes three types of airplane-type soundworlds:
A1. Nearly realistic airplane-type sound textures (second order surrogacy). (e.g., 22:50 – 23:41)
A2. Less realistic airplane soundworlds than A1 (third order surrogacy). (e.g., 0:16 – 0:23 and 0:35 – 0:42 and 0:50 – 0:53)
A3. More abstract airplane-type soundworlds than in A1 and A2 (remote surrogacy). (e.g., 12:33 – 13:22 and 21:25 – 21:46)
Unlike Toupie Dans Le Ciel, I used my real airplane sounds in a different way. The piece begins with completely abstract airplane sounds used as background elements (0:00 – 0:20) (remote surrogacy). Using IRCAM’s AudioSculpt, certain frequencies were isolated from the frequency spectrum of the original airplane sounds. I then used original airplane sounds (0:19 – 0:57) (second order surrogacy), followed by less realistic airplane sounds during the ‘imitation’ of the ‘falling’ plane sound texture (0:57 – 1:02) (third order surrogacy). Original airplane sounds are then superimposed (1:20 – 1:39) (second order surrogacy). The downward motion of the transformation (1:40) was created using a GRM Tools filter (remote surrogacy). An original airplane sound can be heard in the background from 1:44 – 1:56 (second order surrogacy). When played backwards, the airplane sounds become notably abstract, gradually replacing the pointillistic  stone sounds. This can be seen starting from 3:48, though the precise point at which these soundworlds emerge is unknown. This was done on purpose to create a smooth transition between the pointillistic stones soundworlds and the abstract airplane sounds in fast forward motion (3:48 – 4:43) (remote surrogacy). As the ‘breathing sound textures’ are omnipresent (4:58 – 6:41) (remote surrogacy), an original airplane sound (4:45 – 4:58) (second order surrogacy) connects the fast-forward motion airplane sounds with the next section, which is the most abstract section including airplane sounds within the entire work. Finally, a sixth original airplane sound in slight fast-forward motion can be heard (6:41 – 6:49) (second order surrogacy), leading to the final section of the work which includes superimposed slightly less realistic airplane sounds in fast-forward motion (6:52 – 7:50) (third order surrogacy), but not as rapidly as in (3:48 – 4:43).
In Toupie Dans Le Ciel, Bayle used spinning-top sounds to create more realistic and more abstract airplane-type soundworlds. In my work Icarus, I took the opposite approach. Starting with realistic airplane soundworlds (real–world soundworlds) (e.g., 0:50 – 0:57), I progressed to less-realistic airplane soundworlds which retain the spectromorphological properties of airplane sounds but have been transformed through processes such as filtering or the implementation of pitched reverberation to non-pitched airplane soundworlds (e.g., 0:20 – 0:49). Finally, I used a taxiing airplane recording in conjunction with the GRM Bandpass filter to create ‘human – breathing’ soundworlds, which is the most abstract section of the work (e.g., 5:33 – 5:45). The ‘human – breathing’ soundworld section symbolizes Icarus’ reaction to falling in the sea, and this is a typical example of how the work is related to the Myth of Daedalus and Icarus. The preceding information refers to sections of Icarus and Toupie Dans Le Ciel which concern treatments of original airplane sounds/airplane-type soundworlds, as well as to compositional approaches that correspond to these specific sections.
There is a similarity in spectral density and occupancy between the sections of Bayle’s work that include the electronic flux micromelodies and the sections of my work that include the stone soundworlds (e.g., 2:15 – 2:21). The transformed background piano soundworlds of Icarus (e.g., 1:06 – 1:20), on the other hand, have more dynamic and flexible contour energy of motion through spectral space than Bayle’s dronescapes. Furthermore, I superimposed stone sounds over abstract background piano soundworlds (e.g., 1:06 – 1:19), with the exception that the stone soundworlds’ spectromorphologies gradually contract (e.g., 1:10 – 1:19).
The re-identification of airplane sounds as ‘human-breathing’ soundworlds answers the key research question: how can real-world source sound materials be transformed into new identities?
The 'human-breathing' soundworld section represents Icarus' reaction to falling in the sea, and it is a typical example of how the work is related to the myth of Daedalus and Icarus.
 F Bayle, Toupie Dans Le Ciel, (Paris: Magison, 2002).
 In the booklet (livret) of the Compact Disc: François Bayle – 50 Ans D' Acousmatique (2012), Paris: INA – GRM, Renouard Larivière and Thomas Baumgartner, the booklet's authors, present the original sound sources used by Bayle in the creation of his work Toupie Dans Le Ciel. There is no mention of original airplane sound recordings. The following is the French text provided by Larivière and Baumgartner, as well as the English translation provided by Valérie Vivancos and David Vaughn: "La substance de cette musique extraordinaire a été élaborée à partir d'un réel son de toupie, d'un pattern mélodicorythmique simple et de flux électroniques. […]" (Larivière and Baumgartner, 2012). "The substance of this extraordinary piece of music was developed from the actual sound of a spinning top, a melodic-rhythmic pattern, and simple electronic fluxes. […]" (Vivancos and Vaughn, 2012).
 The opposite to ascending contour (downward motion).
 "In pointillism, the line disintegrates into a sequence of pitches separated by large skips [...]. This allows each tone to emerge with a unique, pristine character. " (Pearsall, 2012).