Recording of Klaus Röder's Mr Frankenstein's Babies for tape. The sound material consists only of voice sounds recorded by Röder himself. The sounds were worked out in an envelope shape and then copies upon the other so that there was a "chorus" sound.

Recording of Eugeniusz Rudnik's Moulin Diabolique" ("Devilish Mill"). The work consists of six sequence that have their own dramatic, musical, and architectural meaning independent of the piece as a whole. The piece is based on military orders in different languages, as well as the sounds emitted by human groups (soldiers), which constitute the answer itself or accompany the answer that is required. The composer processes the sounds of the orders to deepen the grotesque and lugubrious character that these orders contain.

Recording of Bogusław Schäffer's Maa'ts for tape (4-lane). The composition if a collage for voices and electronics. The choir sings in harmonically exact microcompositions.The piece was produced in February 1981 in the studio of the Technical University Berlin.

Recording of Mia Schmidt's Aï∂a ∂omi. The spoken word, on which the composers short composition for tape "a rose is a rose" is basing, transfers two antithetical messages. The poem "rose is a rose" written by Gertrude Stein is a love- poem. The composer added sentences, taken from newspaper articles discussing the brutality of the pornographic industry. The poem is represented by this overtone-spectrum in form of sinus-tones or slightly modified sinus-tones. The sentences from the newspaper articles are normally spoken.

Recording of Johannes S. Sistermanns' I hear you think. This work consists of various concrete sounds as well as spoken text written by Hazrat Inayat Khan.

This work was created from a story entitled "The Confession" that I wrote in 1989. In Spanish originally, it was translated into Hebrew, French, English and German. Some of these texts in different languages have been integrated into the work. "Confession" records the psychological oscillations - from mental stability to madness or vice versa - that the protagonist goes through. "The Confession" of the human voice, the electronic instruments (synclaiver), the acoustic instruments (harp, trombone, cello, flute, percussion) and the concrete sounds create a semantic interaction with the syntax of the musical language.

Recording of Martin Schwarzenlander's Unter dem Pflasterstein liegt der Strand. The music is interspersed with text about demonstrations in East Germany during the 1970s.

Recording of Frank Schweizer's Songline. This work is made up of 10 untitled movements and contains various concrete and electronic sounds.

Recording of Elżbieta Sikora's The waste land, for fixed media. The piece is a journey through time and spaces. The present is mixed with the past, the ordinary with the extraordinary, dream with reality. The work was commissioned by the Experimental Studio of Polish Radio and was realized in October 1979. The text comes from T. Elliot's poem "The Waste Land."

Recording of Ipke Starke's Flurstück. The composer denotes "Flurstück" as meaning a piece of countryside, a rural landscape (Flur), which is private property; this is important to a central theme of ownership and its interactions with natural environments vs more "technical" atmospheres. It is described as such: The background of the piece is the dismemberment of the landscape, the subdivided land. From this are born the images. Fields, travel, property, appropriation and expropriation, the battle, fields of march in songs of the consequences. The beautiful atmosphere is disturbed. The notion of ownership must appear in the title: we listen differently when we think of ownership. The composer's interest is in particular in the different silences that were recorded in the countryside in specific favorite places. Added to this are "technical" atmospheres, incidences and "hinges" which oppose natural environments, and which are a reflection and documentation of their confrontation, of the division of the earth. The very precise measurement of the landscape is transmitted to the structuring of the piece by precisely measured durations, unequal, rhythmic, but not insertable into a frame. After the journey through these images of boundaries and fences, and faced with this frustrating experience, the composer notes …

Recording of Ipke Starke's Die Unsichtbare front. The composer notes the following: The spatial installation of this work was designed and realized for the highest space in the building of the Technical Collections of the city of Dresden. This place just below the dome of the tower with its exceptional view of the city and the nearby radio tower is part of the work. The composition itself consists of 16 minutes of music on magnetic tape, constantly looped, spatialized and broadcast through the 7 loudspeakers configured in the space. The piece is based on modulations of extremely high frequencies, up to the limits of the audible, whose dynamic degree barely reaches the threshold of perception. What is significant vis-à-vis the content of the play is their interruption by documentary material: news in different languages, interviews, recordings of demonstrations, reports and documents from the archives, and synthetically generated or processed sounds of associative character. This confrontation of situational elements with documentary elements generates contradictory tensions in space. The architectural form of this one is also substantial: first of all, the space is presented in a neutral way, not done on purpose for pleasure. The exposed location of the dome provides openness, …

Recordings of Gerhard Stäbler's Twilights "protokolle für tonband gleichzeitiz gespielt mit window" (Ewilights "Protocols for tape played simultaneously with window"). Poems were written by Ernestro Cardenal and other texts were taken out of "NEWSWEEK" issues between Auguest 1 and 8, 1983. Produced at the Computer Center of Stanford University/California.

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Recording of Ulrich Suesse's Klangfassaden. The title of this work is an installation built into the two front walls of the Museum of Communication in Berlin, made up of loudspeakers that react to passing pedestrians. The theme of this the installation is communication and is built upon different sound experiences. This recording represents one possible "hearing experience".

Recording of Ulrich Süsse's Les Vusions. Rabelais' ideologies and visions are musically represented in this piece. This is done by building structures and walking away from them. The structures are taken from the sound (preferably from a precise vocal) and the continuation of the language of Rabelais. There is the use of everyday normal objects, but the technique of electronic transformation demonstrate direction and transition.

Recording of Hans Tutschku's Sibeben Stufen. This is an electro-acoustic composition based upon the poem "Verfall" (decline, decay) by Georg Trakl. All the sounds are derived by manipulations of two recordings: the poem spoken by four different voices (German and French) and four chosen German main-words sung seven different pitches and the same for the French speech. The piece is structured in 7 parts which each represent at once an approach and distortion of the text.

Recording of Rodrigo Cicchelli-Velloso's Esboco de thetis.

Recording of Lothar Voigtländer's 3 elektronische Studien. The basis for the composition are the poems of the poet Erich Arendt. The poems were written around 1925 in his Expressionist creative period. Accordingly, the compositional means: concrete musical material is mixed with electronic sounds to achieve a strongly expressive and suggestive associative effect. It is less thought of as a "setting" of the texts, but should be added to the often strongly symbolic language formulations as a different, musical dimension. The vocals and the piano usually work live. The piano is mostly treated as unrecognizable - this is to achieve a seamless insertion into the electro-acoustic sound material. In a performance, both piano and singer can be electro-acoustically amplified and to a lesser extent technically manipulated (reverberation, iteration, etc).

Recording of Lothar Voigtländer's Spring in Berlin. This is a work for electronics that samples many concrete sounds from around Germany.

Recording of Lothar Voigtländer's "Variation und collage" for voice and tape. The text is from a poem by F. G. Lorca. The human voice serves at primary sound material (murmurs, screams, editing, deformations). There are few synthetic sounds that were created through the use of the ARP synthesizer.

Recording of Lothar Voigtländer's Le vieux chant pour la cathédrale. This work uses synthetic sounds to produce a soundscape with bells, whistles, and harmonic metallic sounds. Accompanying the electronics is voice, which explores a wide variety of vocal range.

Recording of Ming Wang's Monsterfest. This work consists of sounds from two different cultures during similar situations. It is meant to explore the idea of people who are transplanted into a different culture and the struggles that come with that. The composer states that the piece has 3 formal parts: 1.) Introduction and variation, 2.) Three-part "song" (A.B.A'), 3.) Covert recapitulation mirrored.

Recording of Wilhelm Zobl's Andere die Welt, sie braucht es.