Recording of John Celona's Music on One Timbre. The computer-syntesized tape was produced using an organ timbre as the fundamental sound source. Microtonal variations in tuning were introduced in order to change the phase relationships within the harmonic spectrum of the massive choral aggregates. It can be discovered that interesting and unique changes in timbre result from orchestrating the harmonic spectra of a complex waveform. The organ timbre provides such a base.

Recording of Arsène Souffriau's Fusar 3 for four mixed voices, four percussionist and two synthesizers. This piece is aleatoric music and is a collective improvisation by the performers. This recording of the collective improvisation took place on Thursday, September 1979 at around midnight. The interpreters were Viollette Beaujeant, Madeleine Fabrice, André Van Belle, and Arsène Souffriau. During the recording, each performer spoke, sang and manipulated various percussion instruments. Then, a selection was made and various sequences retained by Souffriau were reworked electro-acoustically. He then manipulated these sequences in order to create the stereophonic version presented here.

Recording of Eugeniusz Rudnik's Nous.

Recording of Gabriel Poulard's Textures Bivox for tape. The piece was made without a mixer from two revox tap recorders.

Recording of Graham Hair's microvariation.

Recording of Daniel Vermette's Le Lac.

Recording of Roland Willmann's Salve Regina. The Gregorian chorale Salve Regina was the point of departure of this work in that the composer tried to alter the original form but followed and supported it in a formal and expressive way using electronic sounds. The usage of the initial motif to the final corresponds to the cyclical form of the same chorale. The repetitive formula mentioned in the chorale is another structural element that were created in 3 echo recordings.

Recording of Gene Carl's What the River Said. "This composition began as an experiment: I wanted to see what happens when the sound of a piano string (played by an impulse generator through an electro magnet) is rotated around 4 loudspeakers. After many listenings, the movements of the sounds took on musical forms. This guided me in creating both smallest and largest structures on which the piece is based. Through extensive tape manipulations, a spectrum of sounds evolved from the first sound sources. The title comes from the poem, “The Wasteland,” by T.S. Eliot. In this poem, the river is an important symbol, carrying the signs and debris of civilization along its route. In the same manner the movement of a natural-sound (piano strings) carries the musical message and form with it. In this way, nature speaks to us." - Gene Carl, composer

Recording of Ivan Tcherepnin's Five Songs, a fixed media piece.

The sound environment of the village today means a sort of mixture consisting of traditional melodies, sounds and noises of mechanic tools and machines, which do away with the wonderful sound environment that was created by farmers for centuries. Folk Rustle is in fact an association of folk music shown in today's shape. The structure of this composition is made of folk melodies, sounds, noises that are put together in the form of a free rondo. The theme is an old Hungarian folk melody in several articulations. The work was written in 1979, and performed for the first time at the 10. Music Biennale in Zagreb by its author on the Zitherphone.

Recording of Usko Meriläinen's Ku-Gu-Ku. It is based on an old legend: "In the beginning of time there was no land in nature, not even a particle of dust. There was only the sea, only water. Water had arisen by itself, wave after wave came from nowhere and disappeared to nowhere. Only the bird with the name Ku-Gu-Ku circulated alone above the waters and had no place to lay her eggs. Moaning, Ku-Gu-Ku flew around and was afraid of losing her eggs in the water. She began to be assured that there was no place in the world to build her nest. So she descended on the waves and picked feathers from her breast and twisted a nest of them. From that floating nest, the earth gradually began to form. Little by little the different creatures populated the earth. The man was born and he excelled them all."

Recording of Daniel Arfib's Le souffle du doux. The gentleness is the wind, the wood, too. “Le souffle du doux” is a play on simple elements always harmonically connected, voluntarily limited to the point of view of the choice of the timbres, it is the relation between the Bottom and the Top (between the grave developing its harmonics and the acute blow), which the subject of this piece.

Recording of Shinʼichi Morita's Convergence and Divergence. “Since one year, I studied to compose by the sound of glass. And in this piece I mainly use the sound of spinning lens. The spinning lens gradually converges because of the gravitation. This sound makes rhythm of natural acceleration. And by reversion of tape the convergence changes to the divergence.” – Shin’ichi Morita, composer

Recording of Tamas Ungvary's Akonel Number 3.

Recording of Daniel Arfib's Le Souffle du Doux. Le souffle du Doux is a play on simple elements always put in harmonic relation voluntarily limited from the point of view of the choice of timbres, it is the relation between the Low and the High (between the low end developing its harmonics and the high notes blow) who the subject of this piece.

Recording of George De Decker's Modulatud.

Recording of Satoshi Sumitani's Relief Progression. In this "Relief progression," using 200 collected voices, the lines of relief of the sound space are repeated.

Recording of Joji Yuasa's Icon on the Source of White Noise.

Recording of John Anthony Celona's Moving Points. Moving points is a computer-generated composition in 4 channels. Frequency-modulated sounds and algorithms for rhythmic and envelope distribution were produced by an XPL program entitled "Hocket" written by the composer for the New England Digital Synthesizer. Intervallic-harmonic configurations result from the eventual timbres and rhythmic interplay of the hocket-like channel rotations in the program. Timbral complexes are created by multiple modulators and envelopes for each sound. The composition is entirely the result of a programmed automated process; i.e., the entry, order and arrangement of events is structurally dependent upon the program.

Recording of Alejandro Vinao's Una Orquesta Imaginaria. A set of timbres was produced and organized in groups before starting the composition. No new timbres are introduced during the piece. The percussion-like instruments form the heart of the imaginary orchestra. The form and structure of the piece is the paradox of order and chaos. A very simple structure at the beginning is perceived as order. As the structure grows the amount of information reaches an inhuman degree of order and is therefore perceived as chaos. The structure gradually returns to order within human boundaries where different symmetric cells form polyphony of great unity. The quadraphonic displacement of sound in space is considered a musical parameter of equal importance with pitch, timbre, envelop shape, etc., and as such it plays an important roll in organizing the form of the piece.

Recording of Hiroaki Minami's Symphony Electric No. 2.

Recording of Andrzey Biezan's L' Épée d'un Archange.

Recording of John Celona's Waveforms. The source material is the Pacific Ocean recorded with a portable Stellavox while standing knee-deep in breaking waves and following their peaks and cascades with microphones. The material was then mixed in a studio according procedures derived from Fibonacci series with followed from the sequence of wave patterns on the particular day the recording was made.

Recording of David Kenneth Mason's Picnic Four.