Recording of Mike Vaughan's Crosscurrents. Fragments of a recording of this work were subsequently used as source materials, materials which are paired with harpsichord and tape. Crosscurrents uses the idea of a concerto as a model with the tape providing extensions of the harpsichord material, using different combinations of synthesized and recorded sounds. These were created using techniques of sound generation and manipulation including computer synthesis, MIDI, and the traditional techniques of musique concréte.

Recording of Allen Strange's Werebeing split personality jazz. The work brings elements of jazz to accompany electronics and speech. There are jazz samples and electronics which help amplify the speakers energy; while giving the piece development.

Recording of Agostino di Scipio's ...double, sub spcie artificii. This work is for harp and tape. The tape is made up of harp-like sounds and was realized in the composer's home studio. The piece is dedicated to the Italian harp player Maria Di Guilio.

Recording of Pavel Kopecký's Via Regia. Via Regia translates to "The King's Way". It contains three movements: Towers and Shadows, Jongleurs at the Bridge, and The Gate of Kingdom. Each of the movements differ in character and form.

Recording of Johannes Kretz's Niemandslandverschmelzung. The title of the piece translates to Fusion of No-men's-land. The piece is for trumpet and band and is inspired by the sounds of a canyon.

Recording of Elżbieta Sikora's Suite for cello and tape, composed in five movements: Introduction, Scherzo, Largo, Cadenza, Finale. "Suite" brings two apparently different or even opposite universes face to face: the string instrument and the tape made from electronic sounds. One "live", therefore free in relation to the unfolding of time, the other frozen, apparently motionless. The writing, both instrumental and electroacoustic here tries to re-create an illusion of flexibility of the band which in a certain way takes hold of the freedom (control) of the cellist. Both are part of one and the same musical space. "Suite", commissioned by the Experimental Studio of Polish Radio, was composed in Warsaw and Paris in 1989-90. For the production of the tape, technical assistance was provided by Barbara Okon-Markowska. The world premiere took place in Wroclaw (Poland) in February 1990 with Ivan Monighetti, cello.

Recording of Nicholas Virgo's Domestic Blitz.

Recording of Consuelo Diez's S. Q. S. Q. is the result of a commission from the CDMC and the Instituto Nacional de Artes Escenicas y de la Musica (INAEM) for the opening concerts of the LIEM during the VI International Contemporary Music Festival in Alicante, Spain, in 1990. It was composed at the LIEM and finished during the summer of 1990. It is a subjective representation, sometimes a metaphor, of the sounds that surrounded the composer on a given day at that time. It is divided into four sections which follow one another without any interruption, showing up, as a leading thread of the whole work, a group of different bell timbres. The composer used: a Macintosh computer, synthesizers (Yamaha and Kawai), a sampler and several software programs to realize the piece. The composer also used some male voices and his own voice. With the exception of these human voices, which were sampled and synthesized by computer, and a concrete sound, all the remain timbres are synthetic, electronically produced and processed via the computer. The piece is dedicated to Antonio Martin-Carrillo.

Recording of Roxanne Turcotte's Minisérie. The recording consists of three small scenarios without words or images. Its sonic environment is inspired by the work of directors Alfred Hitchcock and Steven Spielberg. It was written in Montreal in July 1990 with the aid of Quebec's Ministry of Cultural Affairs.

Recording of O. Powers' Beta Cygni. The piece was composed in the computer music studio of California State University, Northridge, California. The work is a free-flowing journey through imaginary realms of sound, where the speed, density, and timbre of events are the primary compositional ingredients.

Recording of Pierre Sainte-Marie's Impasse. This piece represents anxiety at various levels. It is meant to be a contemporary "blues" or a lament.

Recording of Pablo Freire's Zeluob 3. The Andean sounds of the pan flute are used while the percussion evokes the great Amazonian Tunduy (drum made of a hollow trunk). This composition uses Pierre Boulez's integral serialism technique, hence its name. Number 3 is part of the macro and micro structure.

Recording of Antonio Moliterni's Pagina Blanca. This work was inspired by 1970s rock. Every sound was created by the Kawai K5 synthesizer, with an additive synthesis generated and two oscillators in the differing techniques. The first one, in parallel (64 harmonics for each osc) and the second one, series (128 partials for each oscillation).

Recording of Orlando Jacinto Garcia's 3 pièces pour double basse et bande. Was written for bassist Robert Black and completed in the summer of 1990. The tape part was made using the bass player's recordings of brief musical pieces (i.e. tremolos, harmonics...) which were then digitized by the composer, sometimes transforming and mixing the material in layers of sound. The second of the three pieces is characteristic of a genre of glissandos, register changes, and also long holds both on tape and for the live double bass part. Great care as to the correctness of tone and the control of timbre is necessary on the part of the double bass player.

Recording of László Dubrovay's Concertino für digital klavier und digitales orchester. This Concertino for piano and tape uses a special tuning system (36V2; 1/6 tone). In this version, the piano uses three differently tuned strings for one note. The orchestration is produced by a Yamaha DX II FD synthesizer under the control of a Macintosh computer. The piece consists of three movements, like a traditional concerto. All chords are precisely determined.

Recording of Andrea Libretti's Segmento 3. Third piece of a series for solo instrument and tape. Based on the development of the results of a harmonic analysis of clarinet spectrums. The electronic part is a dynamic elaboration of a clarinet spectrum (made by additive synthesis) which is compressed, enlarged, shifted, etc.; the clarinet part is entirely developed from seven harmonic cells derived from the base spectrum. The piece can be considered as a journey through the possible articulations of an expanded clarinet in different textures.

A very short but important piece. It was the last composition produced in our old studio (the one offered by the Di Tella Institute that you visited at CICMAT in 1974). The pointillistic piece and its editing is done exclusively by means of tape bonding and sounds from the Arpe 2600. Pozzati, in my opinion, is our best talent. He made his song as a farewell to the old studio which is now replaced by two NeXT machines. He is now one of the people working with the new programs at LISP, in use with these computers. The piece was composed in 1990 in the former LIPM laboratory, just before it was dismantled in March 1990. The sounds were produced by an Arp 2600 synthesizer and resonance filters designed in 1966 at the University of Buenos Aires. The work has a complex rhythmic structure which uses logarythmic and exponential curves. Its high speed attempts to conceal the origins of the sound sources and the transitions used between them. The work is of a humorous nature which conceals the melancholy engendered by the disappearance of the 23-year-old laboratory.

Frequently, the motivations that push the composer to write a work are absolutely extramusical. Regarding this, the appetite to compose was aroused in me by the impression that produced me reading the sentence: "And I too am a painter" attributed to Corrège, who would have pronounced it in front of Raphael's 'Sainte Cécile' in Bologna.

Recording of Bertrand Merlier's Transitions. This work is inspired by the work of Edward Lorenz and the idea that a tiny change can upset the subsequent history of processes that are apparently stable. The piece was composed for flute and magnetic tape. The tape was created from excerpts of other flute recordings, so the work is truly meant for flute and flute. It consists of three movements: Bifurcations, Battements d'aile, and Turbulence.

"... The watermark of a drawing fine enough to escape the bite of termites ..." (The invisible cities) "D'Italo Calvino. Rhythmic series of fragments of sounds, arranged in a certain order according to regular spacings, grouped together in independent sets, alternating with other types of sets, made of tapered sounds, modulating loops, emergences. From this thick sound appear the thread and the grain. The movement order is as follows: Zobeide - Sophronia - Antropie - Zemrude - Despina - Procode - Octavie - Ersilie - Phyllide