Recording of Stephen Montague's Tigida Pipa. Commissioned by Elms Concerts for Singcircle, with funds provided by the Arts Council of Great Britain. Tigida Pipa was composed in Ghent, Belgium, and completed in London in January, 1983, but revised several times until 1989. The text consists of invented words and percussive sounds whose inherent rhythmic structure propels the work at breakneck speed through a rondo of sonic adventures.

Recording of José Augusto Mannis' Cyclone. The composer describes this work as a language of electroacoustic music in which what counts is the gesture of the sound. The movement of the composition is lively, vigorous and energetic, creating clear musical articulations.

Recording of James Dashow's In Winter Shine. This work was commissioned by the MIT Council on the Arts. This work has been separated into two tracks and is meant to be played "quartet-style" with each loudspeaker in the quadraphonic work thought of as a separate performer. The title of this work comes from a line in John Ashbery's poem "Litany".

In 1982, the composer began his third massive theatre entitled The Scratch Project: Arcts. The fours acts are: Testimony; Antiphony VIII (Revolution); Pentagon/y; and De/bate. They are variously concerned with war marking, violence, force, male-sexuality, and the social dysfunction(s) of argument. Concerning Antiphony VIII, the work herewith submitted: Antiphony VIII is regarded by the composer as a theatre, in which a percussionist functions as performer, acrobat-actor, and dancer. A complex score is played from memory on 40 percussion instruments made of steel and skin. Steel represents death, skin represents life. The performer is asked to experience four changes of state, namely: denial, indifference, fire-with-fire, uncertainty. These states reflect certain current societal attitudes toward Nuclear War. Following is a brief scenario: The performer enters from stage right, clicking his drumming sticks very softly. He approaches an oblong set-up, 8' x 16' (cf. score for layout); lifts up a high-hat in order to enter it; puts the high-hat back down ("imprisioning" himself, thereby). He plays out the aforementioned psychodrama. Synchronously, he is bombarded by tape events which also pit death-like sounds with life-like ones. Eventually, he loses his sticks, (a life-line for professional percussionists); resorts to playing with his hands (skin on …

Recording of Joris de Laet's Khene dimensioned II. This work is for magnetic tape, and uses sound recorded from the khaen, a mouth organ from Asia, used heavily in Laos. 6 instruments were used. There are four parts to this work.

Within Time Mark (commissioned by percussionist Kathleen Kastner), are specific considerations including a continuum of timbre - thus providing for an integration of electroacoustic and live sounds without the loss of individuality, and spatial disposition - wherein the location from which sounds emanate within the host performance space is also a parameter for composition. Originally realized in 1983 with concrete and modular voltage-controlled synthesis techniques (including much analog tape editing), the electroacoustic portion of the composition was reworked to reduce the inherent analog tape hiss and was then digitally re-recorded in 2000.

Recording of Annette Vande Gorne's Tao, 4ème élément: Métal. Tao is a four-movement work, inspired by Taoism. The four movements are Eau, Fea, Bois, Métal, and Terre. This recording only contains the fourth movement, Métal, in two different versions. These versions include the original 1983 version with electronics and percussion and the 1984 version with amplified zheng, percussion, and electronics.

Composed for the Tinell Hall, at the Barcelona Royal Castle in the gothic quarter of the city, and the Percussionistes de Barcelona ensemble directed by Xavier Joaquin. Tries to use the space as an element in the composition, taking advantage of the peculiar reverberation of the stone wall hall. Space and electronic music create an appropriate environment which facilitates the reaction of the players, distant of each other; they just follow the signals of the central player surrounded by the public and the sound signals coming from their loudspeaker in the corners of the hall. The central player has the picture of whatever is going on, with the total sound, by following each player and the tape material coming from the 4 corners of the hall, enabling him to guide the piece thanks to his acoustical situation. The tape material uses electronic sounds plus processed sounds from different takes of sound structures Baschet.

Fantasies for Soprano Saxophone and Tape was written in 1983 for saxophonist Kenneth Fischer. It is dedicated to him and to the memory of Peter Tod Lewis. The music commemorates Lewis' wit and taste for the unexpected. Each movement addresses a different facet of his rich personality. The first movement, "Imminence," is a tongue-in-cheek serial work, involving grotesque tape sounds and robust counterpoint between the tape and the saxophone, resolving to an uncertain and hazy cadence. The second movement, "Remember," is a gentle recollection of Lewis' warmth, punctuated by a cry of grief at the end. The final movement, "Homage (Little Birds)," is a rollicking juxtaposition of the classic and the popular in 20th century music. The lyricism of the saxophone music is violated repeatedly and finally squelched by the tape's jolly violence, spiced by quotations from contemporary rock and roll. With the exceptions of the "rock" quotations, all of the analog tape sounds were created using complex concrete manipulation of loops of gong, cymbal, and almglock attacks. The work was realized in the Electronic Music Studio of the University of Georgia.

Recording of Jukka Ruohomaki's Hommage à Winston Smith. This work is a recomposition of old sound materials made for am experimental short film. The film celebrates the year 1984, and it develops further the basic ideas of G. Orwell's novel: human beings are produced, exploited and destroyed according to the needs of society. The sounds have here undergone manifold processes, male voices being the main material.

There is an axial note, Db, out of which some sounds escape occasionally, only to return to it. All other sounds are stratified around these, and the entries of instruments are somewhat free, in a quasi canonic imitation. The tape part was realised with a Synclavier II Digital Synthesizer at the Electronic Music Studio, McGill University. The piece was written for the Agrupaci—n Nueva Mœsica/Rosario [ANM/R] and its conductor, composer Dante Grela. Interferences III is dedicated to them. Premiere: August 14, 1983, during a concert organized by Asociacion de Amigos de la Escuela de Mœsica and the Facultad the Humanidades y Arte UNR, at the Sal—n Italia, Rosario. Chamber Ensemble conducted by alcides lanza. Canadian premiere: with the group GEMS, during the Festival of Canadian Music, organized by Carleton University, at the Ecole Secondaire de Lasalle, Ottawa, on February 27, 1984. LP recording: GEMS Ensemble, alcides lanza, conductor [McGill Records] CD recording: GEMS Ensenble and soloist Meg Sheppard, EMS 35th anniversary [double CD, McGill Records] Score: SHELAN, eSp 8310

Audio cassette from The Black Academy of Arts and Letters recorded during a session with lead singer of the Supremes Diana Ross in 1983. The tape includes two tracks of well recorded audio of the performance.

This audio recording documents an actor reading a script for a voice over for an unknown film project.

Recordings of Barry Truax's Wave Edge for four computer-synthesized soundtracks. Part of a set that includes the piece "Solar Ellipse" (1984-85), focusing of spatial trajectory and related images. Wave Edge was inspired by the I Ching hexagram number 4, Youthful Folly, comprised of the trigrams for water and mountain, which portrays a spring bubbling up at the foot of a mountain.

Audio cassette from the Jim Marrs collection. A radio program with Nancy Jay on the Kennedy assassination and the aftermath. KAAM/KAFM-FM "FOCUS". The program also includes an interview with Marrs.

This audio recording documents Blaine Dunlap driving and reacting to a radio program.

Audio cassette from The Black Academy of Arts and Letters recorded during the an event celebrating an anniversary of the march on Washington that occurred in 1963. The tapes includes a clip recording various musicians singing with the second clip recording a dialogue with poet Maya Angelou.

Solar Wind is an electronic piece based on synthesized audio representations of bow shock interactions of Saturn and Venus with the solar wind as observed by Voyager, Voyager-2 and the Pioneer-Venus Orbiter. The source tape was generously supplied by the project director of the plasma wave instrument, Fred Scarf, of TRW, for NASA. The plasma wave instrument detects phenomena associated with solar wind interactions in space. The instrument, placed aboard this spacecraft, gathers information and analyzes it using a sixteen-channel spectrum analyzer. The data is transmitted to Earth and drives a computer which controls the amplitude of a sixteen-voice music synthesizer. In some bow shock interactions the actual frequencies of the phenomena are replicated; in others, some frequency shifting was necessary. Time compression is set to a 480:1 ratio. The final sequence of the composition uses the source tape with minimal manipulation. The middle section of the piece (bow shock sequence) uses the source tape, but heavily modified. The remaining segments are loosely based on the source tape.

Recording of Maggi Payne's Solar Wind. Solar Wind is an electronic piece based on synthesized audio representations of bow shock interactions of Saturn and Venus with the solar wind as observed by Voyager, Voyager-2 and the Pioneer-Venus Orbiter. The source tape was generously supplied by the project director of the plasma wave instrument, Fred Scarf, of TRW, for NASA. The plasma wave instrument detects phenomena associated with solar wind interactions in space. The instrument, placed aboard this spacecraft, gathers information and analyzes it using a sixteen-channel spectrum analyzer. The data is transmitted to Earth and drives a computer which controls the amplitude of a sixteen-voice music synthesizer. In some bow shock interactions the actual frequencies of the phenomena are replicated; in others, some frequency shifting was necessary. Time compression is set to a 480:1 ratio. The final sequence of the composition uses the source tape with minimal manipulation. The middle section of the piece (bow shock sequence) uses the source tape, but heavily modified. The remaining segments are loosely based on the source tape.

Recording of Juan Marcos Blanco's Huellas.

Recording of Rune Lindblad's Metamorphoses.

Recording of George Skip Brunner's Three Spheres.

Recording of Boyko Stoyanov's Darmstadt Suite.

Recording of a fixed media piece by Iván Patachich.