Recording of Sten Hanson's 96. "According to Amnesty International, there are 96 countries in the world that have political prisoners. In most of these countries, there is clearly physical or mental torture that is punishable by law and unlawful killings." Sound material includes sounds of doors shutting, locks locking, bells, ringing, etc.

Recording William Ortiz's 124 E 170th St. (for electronic tape, narrator, and percussion). It is a mixed electroacoustic work depicting the Puerto Rican urban experiences the United States: the struggle against the agony of the ghetto and against the imposition of a crushing colonial state of mind. The piece is a summons to awake from the broken English dream and assume the Puerto Rican and Latin American essence that belongs to us. The text was written by two Puerto Rican poets living in New York City: Pedro Pietri and Sandra Esteves. The music largely makes use of Afro-Caribbean rhythms, and involves theatrics.

Recording of Terry Setter's 950 for Bob. He describes this style of composition as "focusless music," which is structured in such a way that the listener always hears an undifferentiated sound continuum, making the smallest changes noticeable. The title refers to the length of the piece (950 seconds) and to Robert Ericksson, to whom the piece is dedicated.

Recording of Alcides Lanza's Acufenos V, for trumpet, piano and electronic sounds. Written in 1980 for the trumpet player Robert Gibson, who did the premiere performance at Pollack Hall, Montreal, with the pianist with Alcides Lanza at the piano. The tape part of Acufenos V was made from sounds of recorded trumpet, with a diversity of mutes and styles of playing, and electronic imitations of the same sounds. Acufenos is a Spanish medical term meaning "tinnitus" (tinnitus: from the Latin ringing, French tinnitus or acuphene. It is the past participle of "tinnire", to ring: a sensation of noise (as a ringing or roaring) that is purely subjective. With the carapace of a porcupine type of animal. The tape part was realized at the electronic music studio, McGill University, Montreal, and finalized at the private studio of the composer (Shelan Studios).

Recording of Daniel Arfib's L'approche de la lumière ("The Approach of the Light"). The piece functions as much as a sound experiment on the resonance of the vibrations as of sound as a concert piece. For the entire listening experience, pay particular attention to the quality of the silence before and after the performance.

Recording of Barry Truax's Arras for four computer-synthesized soundtracks. Arras refers metaphorically to the heavy wall hanging or tapestry originally produced in the French town of the same name. The threads running through the material form both a background and, when colored, a foreground pattern as well, even when they are the same thread. In the piece there is a constant ambiguity between whether a component sound is heard as part of the background texture, or whether it is heard as a foreground event because, in fact, the frequencies are the same. The listener can easily be drawn into the internal complexity of the constantly shifting pattern, but at the same time can sense the overall flow of the entire structure. Arras is a continuously evolving texture based on a fusion of harmonic and inharmonic spectra. The large-scale structure of the piece follows a pattern of harmonic change going from closely spaced odd harmonics through to widely spaced harmonics towards the end. Each harmonic timbre is paired with an inharmonic one with which it shares specific harmonics, and with which it overlaps after each twenty-five second interval. This harmonic/inharmonic structure forms a background against which specific events are poised: shorter …

Recording of Teresa Rampazzi's Atmen noch. After many months of researching the relationships between harmonic or better harmonic spectra, this piece was the result of that research. This research was done jointly with Rampazzi's student Maria Luisa Bon. The form of the work is sets of stamps and association between them and a Grecian-inspired Cantus Firmus. The groups are figurations of galaxies out of time.

Recording of Thierry Lancino's Le Banquet des Morts. This work was composed in the Computer Music Studio at Colgate University New York in February and March 1980. The studio, created by Professor Dexter Morril in 1971 offers a digital/analog converter built at Stanford by Joseph Zingheim in 1972-73. This converter is an interface with the Digital Equipment Corporation PDP-10 from the Colgate Computer Center. The piece uses software developed at Stanford, known as Music 10, as well as the score program created by Leland Smith, the Func program (allowing easy writing of functions) and the Gordon Ross Mixer program. The piece is therefore entirely computer generated. Two instruments used, one uses the principle of synthesis by frequency modulation based on an algorithm of John Chomning, the other the principle of additive synthesis based on an algorithm of Jean-Claude Risset.

Recording of Lionel Filippi's Ceremonias. Starting from a basic idea (2 fragments of popular music from the North of Argentina) the work unfolds in various directions: the central idea evolving with interferences of certain elements which cut its continuity but do not distort his point: to relate totally opposite sounds both in terms of their origin (concrete, electronics, popular music) as well as their use and processing.

Recording of Reed Holmes's Chalumeau Rain. The piece demonstrates the composer's concept of music as sound flow (a texture existing in time and space). For this reason, many of the clarinet sounds assume a gestural/electronic character. Chalumeau is a lyric expression of the electronic medium. The composer unites the live and electronic by using live clarinet sounds in the tape which have been manipulated by tape loops, reverb, phase shifting, reverse playback, amplitude modification and filtering. All pitch material is derived from a five note collection. Pitch material is developed by mains of various contours. Ascending, thrusting pitch series are expositional or developmental. Arch shapes exhibit stability and a relaxed character. Descending pitch contours provide or signal closure. Assignment and occurrence of these structural functions in Chalumeau is not simple. The composition grows from an interaction and mutual influence of the pitch and gestural ideas; often one idea dominant and others are struggling to predominate. Momentum and directed motion are additionally achieved by rhythmic activity and textural manipulations.

Recording of Frank Nuyts's "Chile" from Un pais arrellanado por los Andes. It is the first part of the larger work. The second piece is entitled "1973, algunos testimonios." "Chile" is a kind of descriptive characteristic prelude, evoking the country-side with its Cordillera of the Andes but also with its sad and immense plains. The piece was realized in 1980 in the studio of the Institute for Systematic Musicology (IPEM) using Synthi 100.

Recording of Ton de Leeuw's Chronos. The piece is a journey through time, bringing together elements from the depths of the ages (some archaic, folkloric or quasi-folkloric formulas) and other material, that of our time: subjects and report that have always made people passionate.

Recording of James Dashow's Conditional Assemblies, quadrophonic work. Conditional Assemblies is based on three groups of five pitches, each group having one pitch in common with the other two. At the beginning of the piece each group is given a characteristic timbre and textural treatment, and the rest of the work develops, mixes and transforms the pitch- timbre-procedure relationships. The work is in two major sections each of which consists of two overlapping subsections. Conditional Assemblies was commissioned by the Biennale di Venezia for the 1980 music festival and realized at the Centro di Sonologia Computazionale of the Universita' di Padova. As usual, I was using Barry Vercoe's MUSIC360, and it was during work on this piece that I began to expand that program to meet my particular needs. Conditional Assemblies received 2nd prize at the Bourges Festival in 1981.

A recording of Francisco Estevez's Contra-Contra.

Recording of Rob Kruit's An Electronic Symphony Everyone and Nobody.

Recording of Joseph Dorfman's Enchanted Masks. It is a concertante work recorded on tape.

Recording of Jonty Harrison's Eq for live saxophone and tape. It is the third in a series of works that features saxophones. This piece like the others, is also concerned with 'cu' (here made manifest by the interaction of live saxophone and recorded sounds on tape), 'Q' (a filter is used to sweet the producing melodic material out of static harmony) and spatial articulation. 'EQ' is studio slang for 'equalization - a more sophisticated version of the treble and bass controls on a domestic hi-fi system and a fundamental device for sound modification in the studio. EQ was commissioned by John Harle with funds made available by the arts Council of Great Britain. It received it's first performance in the Purcell Room, London in November 1980. The tape was produced in the Electronic Music Studios of the University of New York and the City University, London.

Recording of Jean Charles François's Err / and branching. This is the first of two pieces for tape made from sound material worked on at IRCAM during my stay in Paris, using Music 10. The final production was made at the Center for Music Experiment in November 1980. The 2 nd piece is in progress. The digital sounds produced at IRCAM are part of a large repertoire of tapes used in the context of the KIVA group's instrumental improvisation through amplified acoustic instruments.

Recording of Ricardo Mandolini's Estallido Breve. The piece tries to develop in a progressive yet minimalistic way the repetition of a percussion sound, of which the tiniest variations are in the first few milliseconds of the attack. This attack always follows a long extinction, which is also affected by minute changes. The addition of a second kind of sound material, a perpetual crescendo/accelerando, contributes to the accentuation of the dramatic character of this ostinato. The ostinato ends in an explosive short resolution, which explains the title chosen for this piece. The piece was composed in 1980 at the Institute for Systematic Musicology in Ghent, Belgium. It is stereophonic. The piece also existed as a mixed version (Estallido Breve II) for electroacoustic tape and bass clarinet.

Recording of Þorsteinn Hauksson's Études 1 et 2.The two etudes are the first works based on research carried out at the Institute for Research and Coordination in Acoustics/Music in Paris for more than a year on the techniques of organization of harmonics in composition. The goal was to find a coherence of composition between micro structure (harmonic structure) and macro structure. The pieces are the first text of using computer programs as a result of the study.

Recording of Ricardo Mandolini's "Fabulas, II Parte" ("Fables, second part"). The sound material is made up of both concrete and electronic sounds, often processed. There are two distinct sections to the piece, marked by differences in tempo, rhythmic character, and differences of size. This work is the continuation of the "Fabulas" piece, composed at the IPEM studio in 1979. It was composed and realized at the studio of the Technical University of Berlin in 1980 with technical collaboration by Folkmar Hein.

For String Quartet and Tape explores the Relationship between the nuances that exist in the acoustic and electronic sound world. Throughout the work, the integration of electronic sounds into the acoustic domain of the string quartet creates an illusion that is often hard to define. In the end, they become one integrated ensemble.

Recording of David Kenneth Mason's Freispiel.

Recording of Frank Nuyts's From Ipem with Love for tape. The piece consists of three movements: the first movement acts as a game between articulated/static sound and silence; the second movement, a transition, uses silences that are evoked by sounding layers of sound; the third movement is an evocation of a carillon, in which silence and noise dominate more and more. It was realized in 1980 at the Institute for Psychoacoustics and Electronic Music studio using Synthi 100.