Recording of Jacques Diennet's Création mondiale. This piece is a synthetic prelude with a classic form. The composer used wide sound tracks/slides to spread concrete and electronic sound plates.

Recording of Keiki Okasako's Beyond the Clouds.

Recording of Dragoslav Ortakov's Eleorp.

Recording of Elżbieta Sikora's Voyage II.

Recording of Denis Smalley's Darkness after Time's Colours. The piece can be looked on as a vocal journey which passes through various 'ordeals' and encounters, hence the title's allusion to the journey down into Classical underworld. The sound material of this piece grew out of live electroacoustic work Pneuma whose five vocalists elaborate a language of air sounds, unvoiced consonants and vocal harmonics, and play talking drums from India and Ghana, tuning forks, Chinese gongs and tam-tam. Many of these sounds formed a starting point for this piece - gong strokes, vocal air sounds, air blown on the skins of drums, rotations around drum skins, unvoiced consonants, and tuning fork pulsations - but have often been altered in shape and substance by electroacoustic transformation. New sounds extend, imitate, and penetrate the source sounds elaborating an ambiguous sound symbolism.

Recording of Hugh Davies's Natural Images. This is the first of two compositions related to the sounds of the animal kingdom (two more are planned), and it was originally composed for a dance group. The different sections of the piece evoke but do not exactly imitate various sound-worlds from nature.

Recording of Douglas Lilburn's Carousel.

Recording of Ryszard Klisowski's La nature morte. This piece was composed for either tuba and tape or tape only. It was realized in 1976 at the Institute for Electroacoustic and Experimental Music, University of Music and Dramatic Arts in Vienna, Austria.

Recording of Joseph Dorfman's De Profundis.

Recording of Matthew Crowe's Kiwi Mesh.

Recording of Arthur Kreiger's Dance for Sarah. This piece explores a rich palette of electronic sounds - sounds whose timbral elements are in a constant state of flux in contrast to those which appear in a more steady - state fashion - sounds that utilize the upper registers of the spectrum set against those giving emphasis to the bass tessitura - sounds played in the most delicate pianissimo opposing those of a loud and raucous character. The form of "Dance for Sarah" is a modified ternary structure. The middle section closes with a crashing glissando that is followed by silence. A quiet high-pitched envelope emerges from this silence opening the final section of the piece while creating an aural reference to the beginning gesture of the composition. The final section contains a noisy, flamboyant climax. The energy of this climax is soon spent ant the piece gently fades.

Recording of Peter Beyls's Evolution inexorable et environnement humain.

Recording of Jeffery Bossin's Studie I. The composer's first electronic work, composed in 1975. It represents a study in the development and structuring of material derived from three phonemes.

Recording of Jeff Bossin's Studie I. The composer's first electronic work, composed in 1975. It represents a study in the development and structuring of material derived from three phonemes.

Recording of Lief Brush's Treesway Solo. The only coloration that was employed in early sound handling was through equalization, balancing and combining mix-downs. Structure-wise, the piece centers around spaces in spaces, scale and proportion and the composer's soundworks effect an awareness of the psychological effects of sounds, for instance, from trees and wind transformation via the composer's windribbon. The basic groundwork includes several recyclings of the TerraInstruments including the signal discs, selfbroadcasting trees, lased raindrops and windribbon variations in an attempt to express the voltages from natural sources as recontextualized audible constructs: offering personal connections to the long term aural memories of earthguests.

Recording of Francis Dhomont's Métonymie ou le corps impossible. Two possible readings: 1) "Metonymy", figure of rhetoric; "An object is designated by the no of a similar object". Uses 4 families of sound sources: musical instruments, voices, concert and electronic sounds. Most sound objects are "diverted" from their context; in this lies metonymy. Each family offers collections of objects cutting the duration in pulsed time/smooth time by contrasts, oppositions, slips ... It is also a discourse by associations (one sound calls another). The voice neglects the "discrete units" of language to retain only the prosodic features. 2) Impossible route of a "body" (figured by vocal fragments) locked up, dissolved (murdered?). In another body/place, which unceasingly defeats, tears, covers it. The voice is always spoken out of meaning in a kind of primary glossolalic act. Drift impulse momentum engulfed after multiple attempts of emergence. 4 Parts: 1 - 1'45 Instrumental / vocal / concrete / Electronic 2 - 6'27 Pulses / iterations / cells / groups + 2 'rests' 3 - 4'17 Large notes + mixed variations 4 - 5'02 Frames + coda

A recording of Eduardo Polonio's Espai Sonor.

Recording of Leif Brush's Treesway Solo. “After an intense period of analog familiarization with the range and enormity of available sounds extraterrestrial and in nature, I tried the only techniques then available to me, tape manipulation and speaker placements. The only coloration that I employed in early sound handling was through equalization, balancing and combining mix-downs. I have always monitored from nearly neutral sensors, and my interest has been in trading, configuring and juxtapositionings and in the presentation of sound in natural and climatically different contexts, mainly exterior and in real time. Within the 1980s, I worked with 200-speakers using an Intel 8080 microprocessor used for satellite teleperformances, with collaborators and in outdoor "studios." Structure-wise my work centers around spaces in spaces, scale and proportion, and my sound works’ effect on awareness of the psychological effects of sounds, for instance, from trees and wind transformation via my wind ribbon. I am concentrating on conceptualizing a segue from Internet to real time with on-call two-way availabilities of my data-laden resources. My basic groundwork includes several recyclings of the TerraInstruments, including the signal discs, self-broadcasting trees, lased raindrops and wind ribbon variations in an attempt to express the voltages I seek from …

Recording of Eugeniusz Rudnik's 4 Poèmes made in a technique for a recording studio of hand-held electronic music. The sound material is based on electronic effects, rustling, instrumental and vocal sounds. Each part is integral, allowing them to present in the order of choice.

Recording of Thorsteinn Hauksson's 17 Juni 1944.

Recording of Daniel Starr's Barriers. Barriers is a quadraphonic electronic composition, which was composed in the interval May-June of 1976 in the Yale Electronic Music Studio, using both classical and control-voltage technique. It comprises 30 brief sections lasting 8 to 45 second each, which are in turn divided into two larger sequences of 15 sections, separated from each other by several seconds of dead silence in the center of the piece. Each section on either side of the piece explores a unique combination of sound-points, short, long and continuous tones. The piece is thus loosely organized according to a durational scheme. The opening consists of only short tones, the ending only of long tones; the first half ends only with sustained tones and after the silence, the second half begins with “points” alone. The composition deals specifically with the development and dramatic aspects of those elements, which are carried over from one section to the next, and with the introduction and phasing out of the different kinds of material. Most of the sounds used in the work are pure in character, which is to say that they have a single clear pitch despite the fact that they may have been …

Recording of Jean Piche's Prélude Pour Fête Foraine Et Synthétiseur. This piece is an exploration of the acoustic structure of a popular party. The environmental sections of the work come from a binaural recording of a party crowd gathered for the annual Carnival parade in the city of Quebec. The moments preserved are those preceding the arrival of the parade. The core of the piece was done in the studio with a MOOG synthesizer, using the temporal structure of the environment as a medium. In a single shot the electronic section goes from a slow, static tempo (referring to the acoustic macrostructure of a crowd - lots of internal changes but temporal homogeneity at all) to a fast tempo where the junction is made with the micro structure of the environment. The electronic synth of this last moment wants to get closer to the organic timbres of the voice and the trumpets used by the folks to ring their exuberance very loudly.

Recording of Maggi Payne's Transparencies. Composed using the Moog synthesizer, this four channel electronic piece deals with spatial displacement via carefully controlled phase, pitch, and location relationships. Synchronized slide projections frequently accompany performances of this work. The title derives from the projection of transparencies (slides) of oscilloscope images and from the transparency/delicacy of the sounds used in the piece.

Recording of Reynold Weidenaar's Drive.