It's a wonder no one did a long piece with this title before. Like Mary Shelley's creation, Francis Dhomont's Frankenstein Symphony is stitched out of stolen fragments of other musical pieces, woven together into a coherent, workable whole. Though there are some philosophical parallels, this isn't like John Oswald's Plunderphonics or Negativland's culture jamming: rather than use familiar themes and melodies, Dhomont culled his bits and bobs from friends and former students who gave their blessings to be part of this experimental venture. But just as Doctor Frankenstein's experiment looked, more or less, like a man, Dhomont stitches together his purloined elements and reworks them in such a way that Frankenstein Symphony is entirely of a piece with his earlier electro-acoustic works. Somewhat sarcastically arranged, and named in four movements like a proper classical-era symphony, the 64-minute piece consists of layers of tape manipulations and musique concrete, with reassuring hints of traditional harmony and melody appearing in the music's middle distance and then slowly transforming into something entirely different. While not a major work on the scale of Dhomont's Foret Profonde, Frankenstein Symphony is an intriguing idea skillfully realized.