Recording of Dieter Kaufmann's Wiener werkel.

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Illustration of black, red, pink, yellow, white, blue watercolor, gouache and synthetic polymer paint on fabric. Two figures adjacent to one another in center of composition. A eye, bicycle pedal and teddy bear are also depicted.

Recording of Eugeniusz Rudnik's Divertimento. The composer's intention is that this composition should produce an effect in the sphere of musical expression, as well as - or perhaps above all - in the poetic sphere. The creative assumption is to hide from the listener the whole " technology " of music for magnetic tape, which, should be the means, not the aim. Another, perhaps the most important assumption is the simple but clearly outlined architectonics of the composition. From time to time the composer used advanced transformation of the sound material, but preserved respect for the extremely precious substance, the human voice. The material came from various, often incidental sources within their reach. This method of selection was not forced ; it was neither compromise nor resignation. The whole assemblage consists of particular " bits and pieces " which, in their primary, chaotic being, fascinated me by their specific, unique expression or beauty. The composer made an attempt to set in artistic order a fragment of the world of sounds in because of their profession. The composer built arranged structures, often breaking chosen elements in order to present their often unperceived values. As regards the material based on speech elements, …

Recording of Eugeniusz Rudnik's Divertimento. "My intention is that this composition should produce an effect in the sphere of musical expression, as well as - or perhaps above all - in the poetic sphere. My creative assumption is to hide from the listener the whole "technology" of music for magnetic tape, which, I presume, should be the means, not the aim. Another, perhaps the most important assumption, is the simple but clearly outlined architectonics of the composition. From time to time, I have used advanced transformation of the sound material, but I have done my best to preserve my respect for the extremely precious substance, the human voice. The material came from various, often incidental, sources within my reach. This method of selection was not forced; it was neither compromise nor resignation. The whole assemblage consists of particular "bits and pieces" which, in their primary chaotic being, fascinated me by their specific unique expression or beauty. So I made an attempt to set in artistic order a fragment of the world of sounds in which I remain because of my profession. I tried to build arranged structures, often breaking chosen elements in order to present their often-unperceived values. As regards …

Recording of Horacio Vaggione's La Maquina de Cantar.

Recording of Denis Lorrain's L'Angélus for clarinet and magnetic tape performed by Bernard Paluck, clarinet. This piece is of a fairly loose design, and uses natural passages of contrast or homogeneity between the magnetic tape and clarinet. Magnetic tape is made up of sounds electronic and concrete, including sounds coming from the clarinet itself. Development on two magnetic tape channels is opposed to the fixity of the interpreter situated between the two speakers. This recording was produced December 1971, at the Electronic Music Studio, McGill University in Montreal.

Recording of Enore Zaffiri's Living Synthi. Work composed in 1971 for live performance with Sythesizer Synthi A.