Recording of Douglas Lilburn's Of time and nostalgia.

Recording of György Kurtág's Sch No. 2. The title applies to a series of works written for the electronic guitar. Second in the series, this piece uses very simple technical means: fuzz, wah-wah, feedback on the bass guitar. Kurtag's intention is to exploit the acoustic possibilities of the bass guitar. Recording made in the electronic studios of Radio Hungarian (1977).

Recording of Akil Mark Koci's Filigran 4.

Recording of John Chowning's Stria. The work uses the processes of computer synthesis to precisely control the spectral components - the partials - of sound. A non-tonal division of the frequency space is based on the golden ratio which is also used to determine relationships between inharmonic spectral components. Chowning received one of the Institute for Research and Coordination in Acoustics/Music's (IRCAM) first commissions to compose a piece for the first series of concerts of the Institute (which was presented by Pierre Boulez in Paris of 1977) at the initiative of Luciano Berio. Stria was composed between the summer and autumn of 1977 at the Center for Computer Research in Music an Acoustics of Stanford University.

Recording of Iván Patachich's Ludus Sinteticus. This composition includes synthetic sounds and contains nine part of form that contrast in atmosphere and construction to each other. Two fundamental structures characterize the composition: a successively built block of clusters and a kind of percussion-rhythmic structure.

Recording of Bogusław Schäffer's "Pour bande et instruments divers" ("For tape and various instruments")

Recording of Paavo Heininen's Maiandros, Op. 37, for tape. It was commissioned by Finish Radio. It was realized on 23 March 1977.

Recording of Samuel Headrick's Concertante for Violoncello and Magnetic Tape. It is aggressive and decisive in nature with sections that emerge from and evolve into one another, giving the piece a feeling of inevitability. The title describes the concert-piece in which both instruments are used in virtuosic solo capacities. It was inspired by Brahms's Symphony Number One, First Movement and Alfred Lord Tennyson's "Ulysses."

Recording of Mark Schubert's Merchants. This piece is a progression from single isolated events to total unification of all sounds. The method of doing so involved simple mixings of the different sounds (first individually presented), extending the events with loops, rapidly splicing different timbres together, and finally using tape echo, blending all the sounds into a climactic ending.

Recording of James Needles's Lyric Density I. This piece is the first in a series of three works which explore the development of density from a steady-state sound into a more defined lyric and linear statement. In this initial movement, short and abrupt crescendos promote areas of high attack density often veiled by a continuous foreground or background sound.

Recording of Raoul de Smet's GAM 77. It is a work based on concrete sound material, specifically a cookware set on which the composer improvised. In the studio, the sounds were kneaded and transformed until it reached a sound comparable to gamelan. The title refers to it and when one reads the English title ("game"), it refers at the same time to the composer's activity. As soon as the material was fixed, it was organized in canon three voices. GAM 77 was realized at the Institute for Systematic Musicology (IPEM) in Ghent in 1977.

Recording of Neil Rolnick's "Ever-Livin' Rhythm." All of the sound material comes from fragments of African music taken mostly from field recordings of music of the BaBenzele pygmies of Central Africa, which was then transcribed by Rolnick. The rhythmic drive of the piece is similar to the kind of infectious music which has come out of the African diaspora. The computer part was realized on a mainframe computer which would calculate the batch files, which is an aspect that endures in Rolnick's later works as well.

Recording of Richard Zvonar's Windows for two-channel tape. The piece is described by Zvonar as being "an animated film for the ears." The sonic images are meant to invoke glimpses of alien landscapes, unknown and yet strangely familiar. Sound materials were taken from choral sound masses, filtered and gated through a Buchla 200 Series synthesizer. No electronic sound materials were used.

Recording of Jukka Ruohomäki's Late Afternoon

The composition Mountains for Bass Clarinet and Magnetic Stripe, written in 1977, is in all likelihood in a new stylistic development of the composer. It is especially the conception of musical duration that has changed. Thus I was surprised to find that the duration of this work - estimated at a few minutes during the work - finally turned out to extend to almost twenty minutes. This can be explained in part by the long haul of most musical events, and by a large number of multilevel rehearsals. Be that as it may, the long wavy and sinuous lines, rising and descending slowly, the high plateaus where the music seems to be gathering, have, after the fact, called the title of Mountains. What remains of my earlier music is the fascination of musical traditions in the world. Without wanting to, and without being able to locate them, distant echoes of some popular music seem to touch the music, through the western idiom of today and the technological means used. The tape was developed at the composer's electronic studio in Hilversum. The technical process consists in generating variations at several levels from a basic program.

keywords: panorama, plaza

keywords: panorama, plaza

keywords: panorama, plaza

keywords: panorama, plaza

keywords: panorama

keywords: waterfront development ; View NE of Grand Canal w. Rialto Bridge (by Antonio da Ponte, 1588-92)

Recording of Tommy Zwedberg's Face the Music. This piece is made for solo trumpet and tape. The trumpet plays without any electronic manipulation. The trumpet has also been used as material to make the tape part. In the piece there is also a piano as a concrete material to the tape part.

Recording of Lucien Goethals' Tres momentos musicales. This work was composed for the Belgian violinist Walter Lievens. A violin is meant to play counterpoint to each of the three pieces within the work. The electroacoustic track was created with the Synthi 100 and synthesized violin sounds.

This beach scene of sunbathers, beach walkers, beach umbrellas and sailboats is printed in various hues of red, yellow, blue and pink.