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 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.

Recording of Reed Holmes's Wood on Wood on Water.

Recording of Claude Colon's Diastasis 3.

Recording of Miloš Petrović's Study.

Recording of Iván Patachich's Metamorfosis per flauto.

Recording of Antero Honkanen's Tapporaha.

Recording of Myron Schaeffer's Voices and Bells.

Recording of Horacio Vaggione's La maquina de cantar.

Recording of Daniel Arfib's Voyelles d'éveil.

Recording of Reynold Weidenaar's Twilight Flight. Too solemn for day, too sweet for night, come not in darkness; but come in some twilight interim, when the gloom is soft, and the light is dim.

Recording of Miklós Maros's Manipulation II.

Recording of Reynold Weidenaar's Cicada. The male cicada has a pair of shelf-like drums with a complex series of resonators, located on the base of the abdomen. When the drums are vibrated, the resulting sounds are modified by the resonators.

Recording of Arthur Kreiger's Theme and Variations. This piece was not only composed at the Columbia-Princeton Electronic Music Center, but also in its image. The timbral qualities are very thick and defined; the rhythms like an epileptic machine gunner and the pitches right out of another decade.

Recording of William Schottstaedt's Sandcastle. This was composed between January and February 1978 on the PDP-10 digital computer at Stanford University's Artificial Intelligence Center. All sounds were created using non-linear synthesis techniques, mainly frequency modulation and Waveshaping.

Recording of Reynold Weidenaar's Simple Ceremony. The program used in this piece is entitled AM1. It allows the user to transform one amplitude-modulated signal (double sideband without carrier) into another. Each AM wave is created by multiplying tow-sampled waveforms (carrier and modulating wave) together.

Recording of Michael Christopher's Mithril Canticles. This piece is a heavily edited work utilizing two opposing sound ideas. One is "noise-oriented" sound achieved through fast sequential activity processed by ring modulating the reverb. This activity is opposed to the three-to-five note tune which permeates the work.

Recording of Dubravko Detoni's Phonomorphia I. Synthetic music based on the elements of the human voice and percussion. Two fundamental layers moving from positions of opposite heights meet in the middle and separate starting in different directions. This concrete and electronic study was developed at the Experimental Studio of Polish Radio in Warsaw.

Recording of David Keane's Ambulator Nemorensis. "Ambulator Nemorensis" was put together as a preliminary study for an experimental film by Nicholas Kendall called Tala. While the actual music used in Tala was quite different from “Ambulator Nemorensis” both are attempts to create an imaginary landscape (or to use Murray Schaefer's term "soundscape"). This piece is an honest attempt to create something beautiful.

Recording of Rolf Enström's Sequence in Blue. The Swedish Radiocorporation made the piece on request. The first part of the piece was originally made to fit a sequence of blue infrared pictures (dark blue night images, hence the name). Enström continued working with the music in order to give it a life of its own without pictures. The different parts are visions of different "imaginary landscapes" or moods.

Recording of Mark Schubert's Goodbye Black. Originally, “Goodbye Black” was to be for percussionist (solo) and tape. However, until I have the percussion part finished I feel the tape can stand alone. It is dedicated to the memory of Henry Black and his unique apartment complex in Iowa City called “Black's Gaslight Village.” - Mark Schubert, composer

Recording of Lucien Goethals's Studie VI. The basic material consists of rectangular waves. This material is subjected to various transformations by filtering. The octave is divided into 24 equal parts, so it is a quarter-tone piece. Various layers of sound (rhythm - melodic) are superimposed, which gives shape to a polyphonic play. It is therefore mostly a horizontal music. No concrete sounds were used.

Recording of Joseph Dorfman's The Stones of Jerusalem. This piece is divided into three movements and each includes readings in Hebrew from Genesis and Exodus, the first two books of the Torah. The first movement, "Galeed," incorporates text from Genesis 31:44-46. The second movement, "Altar," reads from Exodus 20:25. The third and final movement, "Tables of Testimony," uses texts from Exodus 31:18 and Exodus 34:1.

Recording of John Elmsly's Diamant. This piece was composed in 1977, using a Flemish poem written and read by Chris Dries as text. Using a simple bank of tuned oscillators, a sequencer pattern to modulate an oscillator, and very simple tape manipulations to leave the words as intact as possible the work is intended as a meditative coloring of the poem.