Recording of Bruce Pennycook's Speeches for Dr. Frankenstein performed by Laurel Miller. The piece is for soprano and computer-generated tape. it was commissioned through the Canada Council for the Arts by Nera Pilgrim (soprano) and Dexter Morrill of Colgate University. It is a setting of four of the ten stanzas of the poem by Margaret Atwood, Canada's leading female author. This work has recieved numerous performances by Ms. Pilgrim and other in Canada and the U.S. This recording is a live performance of Laural Miller at the 1981 International Computer Music Conference in Denton, Texas.

Recording of Barton Mac Lean's The Electric Sinfonia. Sound Sources come from a string orchestra and the music for a chamber piano. The basic instrument used is the "FCMI." The expressive range of the ideas of the piece are important, raising the range from an extremely violence to an obsessive beauty. The duality of character is the thread of all the work.

Recording of Ricardo Mandolini's "Circulos Fosforescentes en fondo negro" ("Phosphorescent circles on a black background). The piece results from a numerical ideology of probability and determination because of the program used to create it. The title refers to the number of quadraphonic space moves that occur in the piece. It was composed in 1982 at Studio EMS in Stockholm, Sweden. The piece received a Honorary Mention from the Electroacoustic Music Festival Luigi Russolo in Varese, Italy in 1982.

Recording of Floris van Manen's "Clair de lune artificiel" ("Artificial moonlight"). It is music of silence, space and time. The transparency of the texture could be associated with the monochrome blue color. Van Manen used a hybrid system to create the piece, using a combination of analog and digital techniques. It consists of three superimposed layers, each having a number of resonance points in the sound spectrum whose total energy remains equal, but which continually change place and intensity, while seeking a balance within the spectrum. Towards the end of the piece, a new element is introduced.

Recording of Alain Marchal's DM VS Metal. This piece is divided into 3 long parts of 4, 6 and a half and a half minute(s), connected without silence. It brings together percussion elements from different species, played and worked in time: a) a series of objects that do not belong to the violin making (plates, tubes, metal plates), b) a Jazz drums, c) metal instruments from groups a- and b- played and manipulated in the studio at the same time. This first part starts ppp and quickly reaches fff. The second part is composed of a metal percussion with very long resonance and treated in perpetual glissandi. The dynamics are variable. After a final f when we hear the small percussion in its initial state, the percussion of a- and b- of the first part return ffff.

Recording of John Celona's Instrument flying performed by percussionist Salvador Ferreras. The piece is based on pentatonic scales. The performer shares the musical material that exists on the tape and plays in and out of phase with the fast, linear and spatially-distributed patterns.

Recording of Tim Souster's "The Transistor Radio of Saint Narcissus" for flugelhorn, live-electronics and tap. The title refers to a passage in Thomas Pynchon's "The Crying of Lot 49." The idea of the mirror image in pitch and time dominates the work.

Recording of Klaus Röder's Polyphonie.

Recording of André Luc Desjardins's "Manu militari" for tuba and tape.

Recordings of Jack East's Interface 3 (the Birds) - a total of five recordings. This piece uses the natural sounds of New Zealand birds, and electronic sounds derived from them. It begins and ends with very active densely textured montage of sound. In between, the sections vary in mood from restful and calm to suspenseful and violent. The interaction of natural sounds and synthesized sounds work in three ways: namely, by combining, by complementing, and by contrasting. Various levels of spatial orientation are explored.

Recording of Jonty Harrison's Rosaces 4 for four amplified voices, stereo fixed medium and four-channel tape. For the tourist, Notre Dame de Chartres may be just one more 'sight' amongst the gothic cathedrals of northern France, only notable perhaps for having more of its original medieval glass than most of the others. But why are the three rosaces (rose windows) at the Chartres considered by experts to be amongst the hour greatest ever produced? Why is the building 46°54' off the normal west-east orientation for a medieval church? Why are there no sculptures and no graves within the building? And how was a relatively small community able to erect, in only twenty-six years and with no interruptions, a cathedral with the widest known gothic vault, when work on cathedrals in wealthier cities was interrupted for lack of funds? Could it be that the outward beauty and perfection of the building are the result of something else, something hidden.....? Rosaces 4 was commissioned by Elms Concerts with funds made available by the Arts Council of Great Britain. The stereo and four-channel tapes were made in the Electro-acoustic Music Studio, University of Birmingham.

Recording of Janine Elliot's "Sinolimi II", an electronic work.

Recording of Jonty Harrison's Klang realized in the Electronic Music Studio of Magyar Radio in Budapest during September 1982. It features the sound of earthenware casseroles and electro-acoustic techniques.

Recording of Joseph Davidow's "Music for two violins, percussion and tape." Recorded in 1982.

Recording of Mauro Graziani's Landing. It uses computer both in composition and sound synthesis. Other programs used in composition include ALGEN and MUSIC360 program. Landing was realized at the :Centro di Sonologia Computazionale" (University of Padova), March to April 1982.

Recording of Ake Andersson's Brown Autumn.

Recording of Jukka Tiensuu's P = Pinocchio ? for six interpreters, computer-generated tapes and computer system for real-time compositional processes.

Recording of Alden Jenks's Nagasaki made in the electronic music studio of the San Francisco Conservatory of Music. Both electronic and non-electronic sounds were used (of the latter the human voice and music of the Japanese court, "gagaku", figure prominently). The human voice appears to be electronically generated, or electronic sounds appear to be gagaku instruments, singing voices, or a percussion ensemble. The words used are those of Fujio Tsujimoto at the age of five, of Nagasaki; on the tape they are spoken by the Japanese violinist Mayumi Ohira.

Recording of Bohdan Mazurek's "Lieder ohne worte" ("Songs without words") for tape. The piece is dedicated to Anka Kowalska, a woman of letters, co-founder of the Committee of Social-Defense (KOR), activist of the movement "Solidarity." Solidarity was a broad anti-bureaucratic social movement, using the methods of civil resistance to advance the causes of workers' rights and social change. (https://en.wikipedia.org/wiki/Solidarity_(Polish_trade_union)) She was interned on December 13, 1981. In the piece, Mazurek works to translate into music the tragedy of the hour and the age of loneliness.

Recording of Pekka Sirén's Merry-Go-Round for tape. This piece is the final result of Sirén's studies in working time and leisure time acoustic objects in the sonical surroundings. Factory noises are combined with entertainment noises to create an entity in which it would be impossible to distinguish them from each other.

This concertino was commissioned by Belgrade Radio and was also composed in Belgrade and is dedicated to Paul Pignon. The saxophone part at the beginning of the piece is composed quite precisely which means that we have to play everything as if it's written down. Later the sound material becomes only half sketched in note which will mean that the performer will have to rhythm, phrase and modulate dynamically. In the end there is only a text program, which is necessary, what can happen eventually and what is forbidden. With the help of which the performer must achieve a freely improvised rhythm and virtuosity. The sound material that on the tape an electronic accompaniment was produced with 10 oscillators and 45 clarinet sounds, its various groups at once together were modulated in different ways with many electronic means.

The composition is a meditative work based on the cantability of basic instrumental materials - fragments of melodic and harmonic structures of a cello part - transformed by the vocoder, the digital sound processor, the equalizer, and so on. It clearly shows the author's desire to establish a relationship between these "thematic materials" ostentatious timpani and dynamising structures synthetically created.

Recording of Wolfgang Motz's Sotto pressione. It is for two oboes and computer sounds. There is the use of multiphonics and unusual tone colors, which requires different fingerings to produce the same pitches. Combining oboe and FM synthesis with the sue of a common pitch system allowed for the generation of three different oboes timbres. AM synthesis is also utilized towards the end of the piece for the notes A, B flat, and b; which are sustained.

Recording of Joseph Hyde's Whalehailstones. Much of the material for this piece was derived from an old piece which was mainly concerned with pitch and the accumulation of harmonic fields of varying complexity. The old material is used to give gesture, rhythm, and form. There is additional processing and sound effects, but overall this piece is gesturally bold, simple, and has unambiguous surface shaping an inner movement that is more complex.