Recording of Pekka Sirén's "Kasaanin Synty (Genesis of Kazan)" performed by Leena Schönberg, speaker. The poem "The Founding of Kazan" is a Mordovinian poem from the collection "Heimokannel," original translation of text from Mordavinian to Finnish by Otto Maninen. Realized in Finnish Radio's Experimental Studio and at Stockholm's EMS Studio from 1978-1980

Recording of Takehisa Kosugi's Catchwave 71.

Recording of Andrew Lewis's Logos. "Acousmatic" music for fixed medium (stereo).

Recording of Pekka Sirén's "The genesis of Kazan" for voice and tape. The composition is based on the Finnish text of an old poem of the Mordovian people. It is a mythological folk tale from that culture. After encountering the tapestry collection of A. O. Heikel which portrayed the Cheremis and Mordove peoples, Sirén was inspired to think of a new musical notation and to set one of these tapestries to music. He chose the poem "The Founding of Kazan" from the "Heimokanne" collection published in 1930 and translated by Otto Manninen as the basis of the composition. Sirén's goal was to depict not only the cultural history but also to research the dramatic expression of the actor. who plays four characters: the narrator, Marja, the father, and the mother. The differentiation of these characters is in the form of sound material that is subject to many stages of modifications. The piece was realized and recorded at the Experimental Studio of Helsinki Radio.

Recording of Joaquin Orellana's "Rupestre en el futuro" for tape. Extra-musically, the piece is a "testimony of place" in a surrealist picture of a social situation, namely, the development of humans. The beginning of the piece uses phonemes in indigenous languages (Quiché, Tzutujil) and special instruments made by the composer to simulate the sounds of "a supposed primitive man."

Recording of Luigi Ceccarelli's "Abominable A" for magnetic tape. The piece includes the voices of Kadigia Bove, Francesca Furlanetto, Eugenio Giordani, Luciano Martinis, Michela Mollia, Achille Perilli, Marina Poggi, Enrico Pulsoni, Giovanni Puma, Kerstin Riemer, Claudio Rufa, Stefano Scodanibbio, Gaetano Trusso, and Catherine Verwilgen. The piece contains a recitation of all the words in the Italian vocabulary that begin with the letter A, read in sequence from voices with different stamps, rhythms, and intonations. To these are added other sequences in French, German, and English. The work is divided into fifteen sections, each of which has a different criterion for processing the timbre, rhythm, and space. It was realized at the Electronic Laboratory for Experimental Music at the Conservatory "G. Rossini" in Pesaro from 1978 to 1980.

Recording of Joaquin Orellana's Cantata dialetica.

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 Gottfried Martin's Pax for tape. Includes electronic and natural sounds, including voice, news recordings, and recordings of war sounds.

Recording of Alcides Lanza's Sensors IV performed in 1984 by the McGill Concert Choir, conducted by Christopher Reynolds. The tape was realized at the Composer's studio (SHELAN Studio) and McGill University EMS in Montreal, QC, Canada. The piece explores different techniques of vocal wiring, especially the relationship of semantics, languages, and memory. The word "Memory" constitutes the entire text for the piece - using letter sound, recombinations of the word, and adding syllables from other languages that share similar etymology. Recording of the word "memories" -- Meg Sheppard's voice -- is used in the realization of the piece.

Recording of Jack Body's Musik Dari Jalan. This piece depicts the musical sounds and ever-varied texture of resonances of Indonesian streets. There are street sellers advertising their products and a street musician who accompanies himself with anklung (bamboo resonators which are shaken) and a small gong.

Recording of Peter Tod Lewis's Samarkandko. This piece is a linear construction on five highly contrasted sources. The affective associations of the materials may suggest a dramatic scenario which, though ambiguous, contradictory, subjective, guided the order on event presentations and their manner of juxtaposition. One evolved theory of the work had precisely to do with the use of extreme, and perhaps at first seemingly unrelated, contrast that such materials can, with care and sensitivity, work together in a composition, to see in the end, related, if only now to the whole. Samarkandko was realized in October of 1976 in the Electronic Music Studios of the University of Iowa.

Recording of Joaquin Orellana Mejia's "Impossible a la x" ("Impossible to the X"). The piece raises the sonorous vision of a spiritual and violent situation, in which the primitive flows and their purity as a mimetic being and the "being children: are involved in clearly antithetical situations.

Recording of Frank Corcoran's "Balthasar's Traum" performed at the Electronic Studio of the Berlin Technical University in close cooperation with Folkmar Hein. The work is based on an idea of a short story by Jorge Luis Borge and the Gospel of St. Mark about Balthasar Espinosa, a man who becomes involved with the Gutres people of Pampa and eventually dies by being hanged on a cross by the same people with whom he was so fascinated. It takes place in the great plains of the Pampa where Baltasar Espinosa is invited to his friend's ranch. To escape the monotony of continuous rain, he begins every night to read aloud to the fascinated Gutres people. They ask for him to reread the Gospel of St. Mark. Mysterious things begin happening during the dark days -- Baltasar cures an animal through 20th century means, something the Gutres have never seen before. The rain eventually stops. That night a virgin Gutre girl visits Baltasar's bed. The next day, he reads the Gospel to the Gutres for the last time. They then ask Baltasar, who is not a believer, if even those who crucified the Savior can receive salvation. They ask for his blessing, …

Recording of Stefan Beyst's Aguiro for tape.

Recording of Peter Martincek's Les insectes. Incorporates the sounds of insects into a electronic piece of music.

Recording of Jukka Tiensuu's P = Pinocchio ? for six interpreters, computer-generated tapes and computer system for real-time compositional processes.

Recording of Bor Turel's Amarcord - Chilhood (l'enfance). This piece is the third movement of the work "Amarcord" that the composer describes as a trilogy of sonorous memories. This work was conceived as a combination of electronic, electroacoustic, and ambient instrumental recordings that were all produced in the years from 1976 to 1996.

Recording of Manuel Rocha Iturbide's Cantos Rituales. The main idea behind this work was to search for different kinds of field sound recordings based in prayers and ritual singing from all around the world. These recordings were then processed through a computer and combined in order to make this composition. The composer describes this piece as a hymn dedicated to all humankind, where they are seeking a spiritual unity common to all, regardless of their culture and beliefs.

Recording of Lennart Westman's Globalcom. The title comes from the combination of the words "global communication" and is meant to represent people expressing themselves in a universal acoustic room. This piece is for electronics and includes concrete sounds of violin, voice, percussion, etc.

Recording of Mauro Cardi's Alba. This is a work for electronics, zarb, and spoken word. The composer references the Persian God, Shams Tabrizi, in their description of the piece.

Recording of Dirk Stromberg's Gilgamesh. This work was commissioned by Musik Gavleborg. This piece was inspired by the story of Gilgamesh which was written four thousand years ago. The story is considered a heroic epic and includes many adventures and battles. It ends with him finding the fountain of wisdom and asking timeless, philosophical questions.

Recording of Miguel Azguime's Comunicacones. The sound materials in this piece come from concrete sounds from a Lisbon port, communication satellites, and texts in more than 30 different languages, as well as synthetic and instrumental sounds. This work was commissioned by the Lisbon World Fair Expo'98 and the concert version premiered at the "Musica em Novembro" festival in Lisbon.

Recording of Federico Schumacher Ratti's Palabras del sur. This work was composed in response to the call for an open work "Le monde devenu Musique l'écoute du siècle". The sound materials in this piece come from instrumentals and vocals from the Kaweskar and Yamana indigenous groups as well as the Mapuche ethnic group and sheds a light on the perspective from the south.