This is the first in a cycle of pieces made of the same base material: samples taken from recordings made in a kneader and with a flint block.

This is the recording of three urban sound environments originally intended for radio broadcasting, as part of programs devoted to large provincial cities. The first of these sound photographs (the bell tower of St Christophe de Tourcoins church) is deliberately missed (used tape, microphone tests, recording speed changes). The second (the basin of St Nazaire) is "successful", but it includes two characters in the foreground and in the background, which cause musical events from objects arranged on the platform (anchors, chains, cans, iron bars ). The third (the funicular of Fournières in Lyon) is rigged (hanging on some natural pits of the band) in a concern nevertheless of minimum use manipulations.

Recording of Christian Clozier's Disent-ils. This is a work for electronics.

Recording of Lucien Goethals' Tres momentos musicales. This work was composed for the Belgian violinist Walter Lievens. A violin is meant to play counterpoint to each of the three pieces within the work. The electroacoustic track was created with the Synthi 100 and synthesized violin sounds.

Recording of Peter Beyls' It always takes a short time. The work combines tape music and spoken words live with electronic transformation of vocal material. This work is a version for tape alone. The electronic sound material as well as the original sounds were used and structured on 4 tracks. The vocal material, spoken by Herman Sabbe, consists of a textual structure by the Belgian artist Yves Desmet. This material has been intensively manipulated, with particular attention to the purely sonic aspects of language. The resulting sounds are semantically meaningless although a musical compilation of the text content can be detected at times. In the first part, colored noises and textures of gradually increasing complexity were used. The central part is built on the exploitation of sounds similar to those of the percussions and almost at the end of the work a continuum with slight fluctuations in the colors and the dynamics is growing.

Recording of Eduard Artemiev's Peregrine. The composer wrote this work under the theme of "pilgrims" and attempted to combine electroacoustic music with the energy and instruments of rock music. The main sounds in this piece are electronic as well as a soprano voice.

Recording of Christian Clozier's Ca c'est ma petite fille. This is a work for electronics that includes French spoken word.

Recording of Christian Clozier's Les salades. This is a work for electronics that includes French spoken word.

Recording of Jakob Jež's Stars II for electronic sounds. This is a work for electronics that includes the sound of highly manipulated vocals. This piece was created as a continuation of the composer's vocal/instrumental work "Stars' Look". The composer strove to find new nuances with the help of electronic procedures unattainable by traditional means.

"Fantasy quintet" for piano and computer was composed in 1977-78 for pianist Dwight Peltzer, on a commission from the National Endowment for the Art. The work is cast in three movements, with cadenza-like material appearing in the middle of the first movement and near the end of the final movement. It was my intention from the beginning to compose a work that would allow the performer to play with some degree of freedom and in a vituoso style. Throughout most of the work computer is limited to four voices, each having its own speaker. The somewhat whimsical arrangement of the speakers about the piano is important to the central idea of a quintet with the piano as a concerto instrument. The "Fantasy quintet" is meant to resemble a chamber concerto in terms of its volume and its frontal stage characteristic. In at least one sense this rather traditional and perhaps heroic plan would seen to be out of step with a medium using loudspeakers, which people often view in a detached or impersonal way. Yet it was that condition which I wanted very much to investigate in the "Fantasy quintet". The work attempts to personalize the speakers, and their sounds …

Recording of Lucien Goethals' Difonium. This is a work for bass clarinet and electronic tape. The relationship between the two sound materials highlights the instrumental virtuosity, with the nature of the tape forcing the instrumentalist to constantly have an extremely dynamic response.

Recording of Klaus Stahmer's Transformationen. This is a work for electronics and instrumentals. It consists of 4 movements: Meditation, Um Den Kreis, Gewalt, Ozeanisch. This work was commissioned by Sonoton.

Recording of Christian Clozier's Même. This is a work for electronics that includes distorted voices.

Recording of Christian Clozier's USA. This is a work for electronics that includes an out of tune string instrument as well as an assortment of various distorted instrumentals.

Recording of Barry Truax's Sonic Landscape No. 3. This work was created for four computer-synthesized soundtracks. This piece is intended to create a sound environment that surrounds the listener and envelopes them in an acoustic space of changing dimensions. Most of the sound structures used in this composition are synthesized with the P0D7 program for non-real-time synthesis.

Recording of Luc Ferrari's Presque rien n°2. The composer describes this piece as a narration but without storytelling; instead, insinuating the passing of time through events. The intention to tell a story is there, but remains vague.

Recording of Ricardo Mandolini's El cuaderno del alquimista. This work utilizes the human voice in several ways as well as pauses. These pauses act more as a way to articulate than to separate the various events. This piece is originally stereophonic and creates a line of composition close to program music.

Recording of Bernard Heidsieck's Passe-Partout n°4. This is a work for electronics that includes French spoken word and radio sound materials.

The composition Mountains for Bass Clarinet and Magnetic Stripe, written in 1977, is in all likelihood in a new stylistic development of the composer. It is especially the conception of musical duration that has changed. Thus I was surprised to find that the duration of this work - estimated at a few minutes during the work - finally turned out to extend to almost twenty minutes. This can be explained in part by the long haul of most musical events, and by a large number of multilevel rehearsals. Be that as it may, the long wavy and sinuous lines, rising and descending slowly, the high plateaus where the music seems to be gathering, have, after the fact, called the title of Mountains. What remains of my earlier music is the fascination of musical traditions in the world. Without wanting to, and without being able to locate them, distant echoes of some popular music seem to touch the music, through the western idiom of today and the technological means used. The tape was developed at the composer's electronic studio in Hilversum. The technical process consists in generating variations at several levels from a basic program.

Recording of Natasha Barrett's Buoyant charm. This work is for electroacoustics and mixed ensemble and explores the relationship of instrumental timbre and acousmatic sounds. The composer discusses the importance of spatialisation and notes that the number of performers and the size of their instruments resulted in a relatively large spatial occupation.

Recording of Peter Tod Lewis's Perpetusa. A 4-Channel Tape Presentation in Four Movements. In electronic music, a typical "patch" (system interconnection) will comprise an audio signal and audio/sub-audio, AC/DC controls, where various parameters of the former are modified at specific points in the signal path by the latter. In the present work, these details may be of interest, in that the signal is one of the source materials for an earlier work, Gestes II, while the controls are voltages derived from Gestes II itself. This principal patch for Perpertusa produced a proliferation of sonic materials so baffling I had at first no idea how to proceed, yet so compelling I was forced to the task. Began with small structural units (which abound in this work, where virtually every moment partakes of a structural gesture) and crept towards larger ones. Towards the end of the work, a "new" idea, as of the sound of horns or tubas, is heard. It is none other than the signal, the source (whose torn and bleeding manifestations we have been listening to all along) at last unmodified. This mournful blare (from the fortress itself) signals the conclusion and summing up.

Recording of Francis Dhomont's À cordes perdues. This work was premiered on August 11, 1977 at the Saint Rémy de Provence Festival by bassist Henri Texier; it is, in fact, at the origin of a mixed music. Inspired by the album "AMIR" by Henri Texier (Eurodisc 913002), it borrows materials, groups, and objects, and proposes to send back an "electroacoustic reflection". During the concert, H. Texier improvised on the tape: reception and/or incentive for the instrumentalist; three-dimensional game between disc, tape and live audio; confrontation of a fixed form and a moving course. Apart from borrowings or quotations, all the sound materials come from the processing of some piano strings. The long final sequence, announced from the beginning, is obtained by coincidence of chains, themselves the result of a "gestural" work inside the piano. Another improvisation of Texier was proposed the next day. The version presented here is specially designed for tape alone.

Recording of Peter Tod Lewis's Signal Messe. "Signal-messe" is an attempt to make a single coherent "bi-sensory" experience from two independent media expressions. The "performers" were the creators, having long since stored their improvisations on magnetic tape or film. The "mess" of stored "signals" was severely cut, edited, processed, mixed, according to a structure that seemed to be dictated by the material itself (though, naturally, in light of subjective considerations). The structure continued to emerge when the tow elements, tape and film, were presented together. It was evident they had much in common: the film seemed, incredibly, a visual analogy of the music, their internal rhythms identical. It remained simply to synchronize the two to match certain salient audio features with video ones. The film is a movie of various video patterns produced largely through video feedback of a black and white system and then converted to color by a video color quantized, a unique device which allows the operator to assign virtually any color to any value in the video grey scale. The film provides a window into a fantastic color world that just might be the same aesthetic realm as that of the sound.

Recording of Peter Tod Lewis's Signal Messe. "Signal-messe" is an attempt to make a single coherent "bi-sensory" experience from two independent media expressions. The "performers" were the creators, having long since stored their improvisations on magnetic tape or film. The "mess" of stored "signals" was severely cut, edited, processed, mixed, according to a structure that seemed to be dictated by the material itself (though, naturally, in light of subjective considerations). The structure continued to emerge when the two elements, tape and film, were presented together. It was evident they had much in common: the film seemed, incredibly, a visual analogy of the music, their internal rhythms identical. It remained simply to synchronize the two to match certain salient audio features with video ones. The film is a movie of various video patterns produced largely through video feedback of a black and white system and then converted to color by a video color quantized, a unique device which allows the operator to assign virtually any color to any value in the video grey scale. The film provides a window (a “space gate?”) into a fantastic color world that just might be the same aesthetic realm as that of the sound.