Recording of Philip Rosenberg's Assemblage for tape.

Recording of Oscar Bazán's Austera.

Recording of Rudolf Růžička's Cantata ai-ai-a.

Recording of Teresa Rampazzi's La Cathédrale.

Recording of Satoshi Sumitani's Cluster of Nephrolepis Marsharies.

Recording of Sumitani Satoshi's Couverte.

Recording of Michela Mollia's Diaphanes. This work involves a recorded part on magnetic tape, a live performer to an amplified tam-tam, and a filter assist. The live performance and recorded part consist of two sound levels that interact with each other, creating, however, a certain ambiguity that is created by the contemporary listening of such sound levels. A bandpass filter makes the two events strictly complementary to the materials obtained from the tam-tam. Additionally, African-speaking voices have been used on a metallic tape. The live performance and tape are distributed over two channels and reproduced with 4 speakers at the 4 corners of the used space.

Recording of Claude Colon's Diastasis. Diastasis means separation. Separation between an instrumental play and a set of sounds obtained with a generator. Dialogue. Osmosis. Separation.

Recording of Roman Berger's Epitaph für Nikolaus Kopernikus

Recording of Bohdan Mazurek's Epizodes.

Recording of Jorge Rapp's Estudio I. It was recorded at the Centro de Investigacin Masiva, Arte y Tecnologia de la Ciudad de Buenos Aires.

Recording of Richard Kennell's Fantasia and fugue.

Recording of Liviu Dandara's Fresca. Fresca synthesizes folk sound phenomena that accompany the daily events of Romanians. There are three intensity curves, proportionally equal. They correspond to the songs/signals of work, funeral music, and love songs. The dynamic culmination is reached in the same section, which interferes with the space and time of the folk festival. The final represents the filtering of a reverberation of the culmination of the work, accompanied by fragments of the motive-echo, which suggests permanence.

Recording of Eduardo Bértola's Gomecito contra la Siemens, o el diablo de San Agustin.

Recording of Ákos Rozman's Impulsioni, the collective title of three works (Impulsioni I-III) realized at the electronic music studio EMS in Stockholm. The three etudes are built on synthetic sound material. There is a strong influence from The Basilica di san Clemente in Rome and a sense of Good and Evil. In 1981, he made Impulsioni I-IV adding on a fourth part containing sounds from sparrows, among other things.

Recording of Ákos Rozman's Impulsioni I-III. Impulsioni I-III was realized at the electronic music studio EMS in Stockholm. The three etudes are built on synthetic sound material. There is a strong influence from The Basilica di san Clemente in Rome and a sense of Good and Evil, a theme that was to remain important all through Rózmann’s life.

Recording of Vivian Adelberg Rudow's Lies

Recording of Carl Stone's Lim.

Recording of Juraj Pospíšil's Méditation électronique.

Recording of Lucien Goethals's Meliorbis.

Recording of Nicole Lachartre's Mordre la terre vivante. This work gives an example of the possibilities of compositional logic offered to composers working at the Belgrade studio. In the first part, a large number of quasi-linear pathways intertwine to create a semi-fluid mass, almost even amorphous at times. It is followed by a section worked in dynamic profile sculpted with precision and contrasts of rhythmic formulas are introduced sometimes by a large variety of instruments including various percussion instruments over which hovers an almost classic “solo” voice. Then the strict rhythmic formulas are temporarily destroyed by an aggressive material introduced in printing whose heights and durations were stochastically determined.

Recording of Peter Richard's Musique concrète II.

Recording of Karel Goeyvaerts's "Nachklänge aus dem Theatre." Realized at the IPEM Studio in Ghent.

This was conceived in 1973 and finalized in this form in 1983 (at Electroacoustic Music Studious from Gent and Bucharest). In 1985 it received the International Confederation of Electroacoustic Music (C.I M.E.) prize. Natural – Cultural is a spectral archetypal music. It suggests the Bib Bang, the initial Explosion, the Cosmic Birth of Universe (of Galaxies), of Nature, the Creation Moments in 6 biblical days, the appearance of the 4 existing kingdoms: mineral, vegetal, animal (insects, birds, animals) and human. This process develops on an egg spiral (archetypal form) which begins on central sound G (the 6-th harmonic) in a c o n t i n u o u s evolution to acute and deep searching for acute E (the 80-th harmonic) and deep D, the FUNDAMENTAL sound. We witness the growth of a “sonorous tree”, the “life tree”, the Archetype of the archetypes, which yields till the end (in the 7-th day), cultural “fruits”, a s c e n d a n t melodies played by a piano. This work will be broadcasted into vast spaces (wit many loudspeakers), as ambient music, on the top of a mounting or at see shore, or inside an astronomic observer at sunrise …