Recording of Raoul de Smet's Adagio. For this work the composer had proposed harmony and relaxation "before anything else.” From there, a slow and steady tempo and very simple form. The sound material is provided by twelve ordinary sound generators. The work begins with a chord in the treble, slowly emerging from the silence or void sound and sustained by a regular pulsation in the bass, the result of differential sounds. Then several new sounds are added while others change timbre, octave, or dynamics causing different sounds of other types. During a slow rise in crescendo, short glissandi roam and decorate the sound space until the climax is reached. A sound column, containing twelve frequencies, comes to rest for about a minute, allowing the ear to move in the audience and thus capture the sound shimmer. This passage is the opposite of the sound of nothingness and could thus appear as a sound universe where one could also lose the notion of time. A brutal blow breaks this sound column like a spring too long stretched. This universe collapses slowly to retreat into the depths of the sound nothingness from which it came. The work was realized on an analogue …

Recording of Richard Orton's Ambience. Ambience for solo bass trombone and tape was written for the American Trombonist James Fulkerson and first performed by him in the Wigmore Hall, London, on 17 May 1975. He has since included the work in many recitals during his tours in Scandinavia, Canada and the USA. The title "Ambience" here refers to the imaginative sonic environment surrounding the sounds of the trombone, including the most "artificial," synthesized sounds, instrumental ensembles which incorporate the trombone, and environmental recordings including public sounds we will recognize and share. Within this sonic environment the trombone at times asserts itself, at times merges most imperceptibly, and eventually complements it and achieves a harmonic and dynamic balance.

Recording of Lojze Lebič's Atelje II (Atelier II) for tape. The piece was composed in collaboration with Paul Pignon in the Radio Belgrade Electronic Studio in September 1975. It is made up of five sections, in which certain electroacoustic "instrumental" ideas are transformed through characteristic compositional procedures. The title has a twofold meaning: on one hand, it reveals the aims of the composer's research, considering that this was Lebič's first encounter with the electronic medium, and on the other, his expectations that the composition would be performed in the Concert Atelier cycle of the Society of Slovene composers. Atelier II was later expanded into Atelier III for magnetic tape and live violoncello performance.

Recording of Zoltan Pongrácz's Barisphère. The work Barisphère is the central part of a cosmic series in three parts: Luna IX, Barisphère and The Big Bang. Its title refers to the central core of the earth, consisting of molten iron and nickel, with a diameter of about 30km. The composer's intention was to create, using electroacoustic means, a program music that excites the cosmic imagination of the listener. The sound material is made up of both synthetic and natural sounds rigorously structured by certain mathematical operations. Both rhythmically and formally, the proportions of the work are borrowed from the various measures of the earth. The treatments used are: transpositions, filtering, ring modulations, phase shifts, envelope transformations, feedback, reverberations, etc.

Recording of Emmanuel Ghent's Brazen.

Recording of Ryszard Klisowski's Cadenza

Recording of Teresa Rampazzi's Canti per checca.

Recording of Ivan Parík's Cantica feralia. The basic material is an orchestral work of the composer. The material was re-worked with electronic manipulations; originally the work was quadraphonic. Dedicated to the victims of the concentration camps of the Second World War.

Recording of Wes Richard Wraggett's Cetacea Suite.

Recording of Georges Boeuf's Champs.

Recording of Satoshi Sumitani's Constellation. This composition is a process of pursuit to sonority in limited materials possibility of transformation and combination. In addition to all instruments used were a Graphic Equalizer, a Eariable Speed Tape Recorder, and a Microphon setting.

Recording of Curtis Roads's Construction. This piece consists of continuous sound spectra. It was composed intuitively by ear. Its process of forming is characterized by an interplay among sections of historical development (continuous transformation), sequences of event (discrete spectral "harmonies"), and disjoint non-sequiturs (contrasting modes of musical behavior). "Construction" is a model, an alternative vision to the dominant mode of structuring. The technical devices used to make the work were: Moog III Synthesizer, Bode Ring Modulator, Bode Frequency Shifter, Ampex 4/2 Mixer, JBL Monitors, Quad/Eight Mixing Console, ITI Parametric Equalizer, Pultec Equalizer, Acoustic Echo Chamber, Altec Monitors.

Recording of Hilda Dianda's "...Despues el silencio..." ("...After the silence..."). The piece is complex in its apparent simplicity. The slow evolution of the piece, with its predominantly dark and static sounds from which material of greater brightness and mobility emerge occasionally. Silence also plays an important role in the composition. It was realized at the SISMAT Laboratory.

Recording of Knut Wiggen's Deux études

Recording of Rainer Boesch's Drama

Recording of James Dashow's Effetti Collaterali performed by the clarinetist Phillip Rehfeldt. The composer's first effort in using systematically his concept of AM and FM spectra as inharmonic harmonizations of specific dyads. The specified pitches are made to generate their own accompanying frequencies, generally inharmonic with respect to the pitches themselves, as a result of FM or AM procedures. Each interval or each pitch-pair can generate several possible spectra, but the similarity in sound quality between kinds of spectra quickly reduces to a limited number of readily manageable families of chord-types. These chords are the basis for a variety of musically interesting relationships, and this work represents but one of many possible developments of these kinds of sounds. Effeti Collaterali was commissioned by Francois Bousch who was the resident holder of the "Prix de Rome" at the French Academy for the 1975/76 concert season.

The specified pitches are made to generate their own accompanying frequencies, generally inharmonic with respect to the pitches themselves, as a result of FM or AM procedures. Each interval, or, in fact, each pitch-pair (or if you don't want to limit yourself to the chromatic scale, each pair of arbitrarily decided upon frequencies) can generate several possible spectra, but the similarity in sound quality between kinds of spectra quickly reduces to a limited number of readily manageable families of chord-types. These chords are the basis for a variety of musically interesting relationships, and this work represents but one of many possible developments of these kinds of sounds. The clarinetist in this recording is Philip Rehfeldt.

Recording of Peter Tod Lewis's Ekstasis

Recording of Vassilis Risiotis's Eroptycha II

Recording of William Buxton's For Dance

Recording of Iván Patachich's Funzione acustico

Recording of Graciela Paraskevaídis's Haauqui (pronounced Wauki or Ouaouki) for two-track tape. The title is a Qechua word referring to a small statue carried by the Incas that resembles their own image, a meaning extended to brotherhood, community, and friendship. The sound events, created from both microphonic and electronic sources, aim at a non-discursive, non-anecdotic function based on a self-imposed simplicity and on the presence of structural silence. It was realized at Elac, pequeno estudio de Montevideo, in 1975.

Recording of Peter Beyls' It always takes a short time. The work combines tape music and spoken words live with electronic transformation of vocal material. This work is a version for tape alone. The electronic sound material as well as the original sounds were used and structured on 4 tracks. The vocal material, spoken by Herman Sabbe, consists of a textual structure by the Belgian artist Yves Desmet. This material has been intensively manipulated, with particular attention to the purely sonic aspects of language. The resulting sounds are semantically meaningless although a musical compilation of the text content can be detected at times. In the first part, colored noises and textures of gradually increasing complexity were used. The central part is built on the exploitation of sounds similar to those of the percussions and almost at the end of the work a continuum with slight fluctuations in the colors and the dynamics is growing.

Recording of Hubert Howe's Kaléidoscope, for electronic tape.