Recording of Lars Gunnar Bodin's For Jon - Fragments of a time to come. The work is a dramatic cantata, with vocal sections for both chorus and soloists alternating with recitatives and instrumental interludes. It is based on a series of texts characterized by a kind of "surrealistic science fiction" testimony and reports about experience in other worlds, real or imaginary. The texts are never sung but are often melodically "coloured", "composed" with the aid of electronic means. The composition also includes a mixed chamber chorus of twelve singers and a soprano soloist.

Recording of Peter Beyls's Rothko. "The most important tool that the artist shapes through his constant practice is the belief in the ability to produce miracles when they are needed.” – Mark Rothko, “Possibilities” 1947 The 3 parts that constitute the work have a different macro-structure. They have a fundamental common interest in the color of sound. The work evolves from an extra-musical point of view: my interest for painters of colorful American plans, in particular Newman and Rothko. Both emancipate and materialize the color factor as the essential object of their work. In the work of Rothko, the hand that paints can always be felt through an acute logic of austerity, in the long run. The evolution of character of Rothko's work: his early works are based on a concrete starting point and his "transcendental rectangles" make up the central period of this work, the remarkable crystallization between content and form gives his work a preponderant place in post-war abstract painting. The electronic work "Rothko" confronts us with the form and certainly not the content of the work of Mark Rothko. I want to emphasize, however, that I did not pursue the idea of translating the image into sound. …

Sarah Vaughan and Dizzy Gillespie perform at the White House.

Recording of Alfredo Marcano Adrianza's Dencias. “Dencias” was realized at the Laboratory of Electronic Music (CICMAT) of Buenos Aires. The work is conceived as a large surface of electronic sounds that appear and disappear in different harmonic combinations, on a resonant background of delicate character, formed by percussion sounds of instrumental origin. The slow, somewhat hypnotic unfolding of the work is sometimes interrupted by the violent appearance of fortissimo attacks.

Recording of José Vicente Asuar's Amanecer. “Amanecer” is formally a very simple work. Through this and other works, I try to project the possibilities of electroacoustic music in a sonorous universe where harmonic intervals prevail and a formal concept not far from impressionism. For a long time I experienced, as other composers have, new possibilities of sound and structure, matter and musical form, with electroacoustic sounds. I have not abandoned the search, but I want to choose some things in works that are simple and easy to listen to for any auditor. This is the reason of being of works like “Amanecer”: a break in the path of a creator. From a utilitarian point of view, “Amanecer” is thought of as music for ballet, as an introduction to some work of greater encouragement that is still to be written.

Recording of Eugeniusz Rudnik's Ready made '77. Produced at the Polish Radio in 1977.

Recording of Joseph Dorfman's The Stones of Jerusalem. This piece is divided into three movements and each includes readings in Hebrew from Genesis and Exodus, the first two books of the Torah. The first movement, "Galeed," incorporates text from Genesis 31:44-46. The second movement, "Altar," reads from Exodus 20:25. The third and final movement, "Tables of Testimony," uses texts from Exodus 31:18 and Exodus 34:1.

A partial set of playlists for individual Music USA programs 8038 through 8128, broadcast in 1977, along with a list of broadcast dates for programs from June through December of that year. There are 24 pages in this document.

Recording of John Elmsly's Diamant. This piece was composed in 1977, using a Flemish poem written and read by Chris Dries as text. Using a simple bank of tuned oscillators, a sequencer pattern to modulate an oscillator, and very simple tape manipulations to leave the words as intact as possible the work is intended as a meditative coloring of the poem.

Realized at the Institute for Psychoacoustics and Electronic Music (IPEM) in Ghent.

Recording of Max E. Keller's Grundgesetze III. "Grundgesetze III" is the third part of a six-part work begun in 1975. Sections I and IV were realized as orchestral pieces. Lyrically, the work is based on the confrontation of ideology (for example, the constitution, that is, the "Basic Law" of the FRG [Federal Republic of Germany]) and the reality of bourgeois society. In "Grundgesetze III" the federal government processes a text about the so-called social market economy, while two other speakers present some information and a realistic dialogue. If the social market economy promises people paradise on earth, then the setting adjoins the dull reality: the colorful life has given way to a mechanical, absolutely regular beat, which was realized electronically, which thus lacks any inner life. This hammering also reflects what characterizes pop music and gives it an intoxicating effect, but occurs here naked and without drapery, no longer narcotic, but irritating. Like the rhythmic parameter, the pitch parameter also adjusts, with 19 different pitches distributed over the listening area at absolute regular intervals forming the basic chordalization of the chords. In other words, it is a 19-note chord built on a regular basis from which one single note is …

Recording of Kees Van Prooijen's De onbesuijsde steenhoop. "De onbesuijsde steenhoop" was completed on March 30, 1977. The overall structure of the piece can be described as an introduction followed by variations on a theme. The introduction that occupies more than half of the work is composed in a free style, my first subject of interest being how the computer manufactures the sound and how this sound is perceived. The variations are the result of an analysis-synthesis process executed by the computer. We approach the rhythmic and melodic characteristics of a melody from the statistical analysis of this melody. Parallel to this, the computer, starting from the principles put into practice in the introduction, is approached in a more and more instrumental way until we hear the theme "savagely.”

Recording of Ludmila Frajt's Nocturno.

Part 1 of a recording of John Gilliland interviewing radio and television producer Himan Brown.

Recording of Emmanuel Van Weerst's Mimoïde.

Recording of Trevor Wishart's Red Bird. The resources available for its realization were-6 semi-professional TR (all stereo) (Revox A77s), a portable Nagra stereo TR, microphone recording equipment (but NO soundproofed recording facilities), and a 12-in, 4-out mixer. The only filters available during most of the period of composition were the EQ controls on the mixer. Specific source-sounds are chosen to solve specific problems in the realization in sound of the preconceived form scheme. In generating source-material, composed music and specially-constructed improvisation procedures are used, among other things. A special feature of the piece is the transformation of one sound into another (e.g. "Lis" to birdsong). The aesthetic of the composition demands that such transformations appear "natural" i.e. that they appear to be no more than recordings of strange real-world events. This places severe restrictions on the techniques, which may be used to archive such transformations. Most are done using a combination of performance and classical tape-techniques.

Recording of John Elmsly's Diamant for electronic sounds. Diamant was composed in 1977, using a Flemish poem written and read by Chris Dries as text. Using a simple bank of tuned oscillators, a sequencer pattern to modulate an oscillator, and very simple tape manipulations to leave the words as intact as possible the work is intended as a meditative coloring of the poem. The tape was realized in the IPEM studio in Gent, Belgium.

Recording of Reynold Weidenaar's Sweet Jesus and the Honkies. Sounds were processed by multiple delay, equalization, echo chamber, overload distortion, phasing, expansion, flanging, cross-channel penning, tape scrape flutter, editing, variable speed, multiple generation, feedback, and tape delay echo. The recording machines used included one 4-track tape recorder and three 2-track tape recorders.

Recording of Bruno D'auzon's Par La Fenêtre Entrouverte. This piece, varying in articulation, draws its basic materials from the four types of sound sources generally used in electroacoustic composition (concert sounds, electronic sounds, musical instruments, human voice). The initial sampling however remains intentionally restricted within each of these categories (concrete: sustained percussions on a resonating body; electronic: three fixed frequencies, a glissando; instrument: string, isolated percussions and bow maintenance; voice: two sustained sounds , tonic and breath). The work of variation was therefore essentially situated at the level of studio manipulations. It consisted of a "transformation" of the basic materials in each of the sequences and even within them while keeping a permanence of "timbre" and causality. The articulation systems are provided by a permutation of shapes and melodic profiles between two or more initial objects as well as between their developments. The piece concludes, after a final isolated variation (very reduced in time and dynamics), in the progressive superposition of the hinge variations in abrupt sequences that come closer and closer then in a tutti crescendo .

Recording of Reynold Weidenaar Reynold's Twilight Flight.

Recording of Franck Royon le Mee's Taksim.

Recording of Peter Beyls's Rothko.

Recording of Eugenio Giordani's E'Tape. The composition is a study on the available possibilities offered by the properties of interconnection of the analog systems for sound production at the LEMS (Electronic Laboratory for the Experimental Music). Besides this, E-Tape explores two different techniques of spatialization of the sound through the standard quadraphonic reproduction. The piece is formally organized into various sections, each based on a certain type of synthetic sounds material, characterized by an introduction (presentation of the materials) and closed by a final recapitulation. All the material used in the various sections come out from sequences of filtered, ring modulated, reverberated sounds, and a lot of cutting tape. One of these sequences, turns out like a kind of thematic element since it is several times reused and developed during the whole composition. This “pseudo-thematic” element was generated from a special frequency modulated process including three periodic waveform and a random generator. The circular spatialization is realized in two different way: the first one was used four ring modulator arranged as sequential gate for the control of four independent loudspeaker. The other method employs the equal delays of the four independents heads of an AMPEX AG-440: the source is fed …

Recording of Theresa Rampazzi's With the Light Pen. The equipment used is an I.C.M.S. video terminal relayed with the IB IMB 370/158 computer. This device was designed by the engineer Graziano Tisato at the Computing Center of the University of Padua. Bessel functions applied by Rampazzi.