Recording of Otto Luening's Gargoyles.

Recording of Otto Luening's Synthesis.

Recording of Lucien Goethals' Cellotape. The electroacoustic part of this work was produced in three versions: one-track, two-track, and four-track tapes. It is meant to be played with two performers, a cellist and pianist who become responsible for the synchronicity of the piece. The piece premiered in Brussels with cellist, Herman Sabbe and pianist, Pierre Bartholomé.

Recording of Lucien Goethals' Studie 2. This is a work for electronics.

Recording of Lucien Goethals' Studies 3. This is a work for electronics.

Recording of Juan Blanco's Musica Para Danza. This is the composer's first work for electroacoustic tape and was created using an oscillator and tape recorders.

Recording of Janez Matičič's Oscillations. This work represents the composer's first electroacoustic composition which was produced as four-channel sound. Motions of sound, specifically from the phenomenon of gravitation, feature prominently in this composition. This work was created using concrete sounds only.

Recording of Igor Štuhec's A study for Electronics Sounds. This is a work for electronics that premiered at a concert in the Modern Gallery in Ljubljana.

Recording of Sten Hanson's Don't hesitate, do it right now. This work consists of 4 separate pieces: 'Che', 'The Glorious Desertion', 'Don't hesitate, do it right now', and 'Revolution'. This collection of pieces were inspired by the ADC (American Deserters Committee), a group of American soldiers that found sanctuary in Sweden after deserting the American army during the Vietnam war. The spoken text in this piece is sampled from a speech given by Che Guevara, a public figure who took part in Castro's revolution.

Commissioned by Chilean pianist Carla Hübner, and premiered by her at the Latin American Music Festival, Bloomington, Indiana, in 1966. In Plectros II the composer extends the idea first explored in his Plectros I - the opposition of two different worlds of sounds. It requires the interpreter to extract "electronic" type of sounds from the piano using both the keyboard and the inside of the piano. No special mallets are required, and the pianist uses fingernails, fingertips or the palm of the hand to obtain harmonics, resonances, and glissandi, or to produce clusters and a variety of different attacks. On the other hand the tape part, produced at the Columbia-Princeton Electronic Music Center in New York, has synthetic sounds - all electronically produced - creating artificial quasi-piano type of sonorities. The goal is to achieve a blending which gives the listener an impression that it is not clear if the sound is coming from the instrument or from the loudspeakers. Plectros II is not a dodecaphonic composition, nor a "prepared piano" one.

Recording of Christian Clozier's Lire à Lully. This work is the composer's first attempt at electroacoustic music. The sound source used for this piece is the piano which was not mixed but edited in "search of expressiveness".

"Act of Openings" is a stereo composition made with Moog analog synthesis modules. Composed in 1968, its duration is 17'27. The score of the composition is a dense and modulated sound characterized by carefully controlled phase relationships. All the rhythmic and harmonic elements of the piece derive energy from a long, brilliant sound. Each part of the room is another glimpse of this sound, as a set of flowers form a bouquet. "Act of Openings" received the 2nd Prize at the 1969 Dartmouth International Electronic Music Competition.

Recording of Clarence Barlow's Piano Concerto No. 2 - "Aux fins de quelques siècles". This work started as the second movement of the composers Piano Concerto No. 1 in D and as years past and music changed, the piece changed as well. The composer notes the musical differences throughout the progression of the piece as a reflection of the decade it was written. It was premiered as an orchestral piece in Reykjavik with soloist Deborah Richards and the Iceland Symphony Orchestra.

Recording of Lucien Goethals' Studie 5. This is a work for tape with mixed electronic and concrete sounds. These different materials play off of each other in what the composer describes as a "question and answer" type of dialogue, while being modulated and transformed in various ways.

Recording of César Bolaños' Intensidad y altura. This work is based on a poem by the same name by Cesar Vallejo and uses sound material from the read poem. Other acoustic materials were modified later with the usual procedures for Tape Music. This piece was the first electroacoustic piece composed at CLAEM.

Recording of Armand Gutheim's Die Mauer. The sight of the former wall, which divided Europe in two, and the feeling that it evoked, was the perfect subject for an electroacoustic piece. Divided into three parts (1. Construction 1961, 2. Checkpoint 1975 and 3. Destruction 1989). Several acoustic instruments, tools and sounds were originally used at the recordings as well as a choir. Nevertheless, they were all processed and adapted into the electroacoustic concept that can be heard. The result became a piece who may give the listener an unpleasant feeling from the past but also a feeling of hope for the future.

Recording of Hugh Davies' Shozyg 1 et 2,2. This work was created by reconstructing and modifying 4 instruments (an egg slicer, Aeolian harp, guitar string, and various springs) whose sound progresses from monophonic into stereophonic. The composer intends the piece to be performed with 4 speakers.

Recording of Ramon Zupko's Metacycles

Recording of Lucien Goethals' Contrapuntos

Recording of Luctor Ponse's Nacht

Recording of Arne Nordheim's Solitaire.

Recording of Gottfried Michael Koenig's Terminus II

Recording of Eugeniusz Rudnik's Lekcja.

Recording of Walter S. Kimmel's Cronaca.