Recording of Lucien Goethals's Studie VI. The basic material is rectangular waves. This material is subjected to various transformations by filtering. The octave is divided into 24 equal parts--it's quarter-tone music. Various sound layers (rhythm - melodic) are superimposed which gives form to a polyphonic playing. So it is mostly linear music with no use recorded sounds.

Recording of Myron Schaeffer's Voices and Bells.

Recording of Jan W. Morthenson's Neutron star. This work is based on thermodynamics. The sensation of gravity and compression is represented by acoustic means. The whole sound mass breaks up into glissandos and is dissolved in an echo giving an illusion that the imaginary event has taken place in space. The great quantity of impulses and the focal point in "Neutron Star" necessitated the use of a computer (SAAB D-21), which has itself produced the electronic impulses (with frequencies chosen by a random generator) and been programmed to let the impulses appear at on the whole fixed intervals.

Recording of Jon Appleton's Times Square Times Ten.

Recording of Jon Appleton's Chef d'oeuvre.

Recording of Pierre Boeswillwald's La Promenade du Dimanche.

Recording of Francisco Kropfl's Dialogos 1. This work uses complexes of short of electronic sounds with long reverberations of the round 10 seconds each, thanks to the natural reverberation chamber build at the studio at that time. The name of the piece relates to the "dialog" between the long transparent sounds obtained through the aforementioned procedure and the original electronic pulses.

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 Otto Luening's Gargoyles.

Recording of Otto Luening's Synthesis.

Recording of Gabriel 's Batucadas. This is a piece entirely composed with electronic sounds. It is an elaboration based on pulsations that occur at different speeds leaning towards density accumulation. Static, shrill and strongly aggressive material that overflows the interrupted background of pulsations. The work was composed in 1973, during the last year of existence of the Laboratory of the Latin-American Center of High Music Studies of the Torcuato Di Tella Institute.

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 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 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".

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.

Discover for me this fabulous world of electro-acoustics; this world that allows us to accurately retain the slightest gesture, to multiply the sound sources to infinity, to put things and distant sounds side by side and thus to create magical worlds of unheard-of expressiveness. Rainer Boesch

Recording of Coriún Aharonián's Que, spoken text performed by Armando Halty. All of the sound material, besides the spoken text, is electronically generated sounds. It was composed between July and October 1969 and was realized in the Laboratorio de Moesica Electronica of the Centro Latinoamericano de Altos Estudios Musicales of the Instituto Torcuato Di Tella in Buenos Aires.

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 Myron Schaeffer's Voices and Bells.

Recording of Paul Pedersen's Fantasie. This 8 minute, 2-track tape piece was composed in 1967 at the Mc Gill University electronic Music Studio. The work was conceived as a multimedia presentation using 3 projectors with hand painted slides by the Montreal artist Gino Bielanski. The piece is in 15 sections, which are synchronized with the fifteen slides used in the centre projector. Pitch organization in the work is centered on a 9 pitch series between 77 and 2335 Hz with successive pitches 200 Mels apart. Two sections involve the use of the Shephard Scale. The basic sound sources used are limited to white noise, sine and square waves. Much of the synthesis of the work was done using the channel Spectrogram developed by Dr. Hugh Le Caine of the National Research Council of Canada.