Recording of Oscar Bazán's Austera.

Recording of Karel Goeyvaerts's Parier sur huit chevaux n°1.

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 John Cousins's Christmas musik.

Recording of Bohdan Mazurek's Epizodes.

Recording of Branimir Sakač's Synthana, made in collaboration with Paul Pignon. Sakač describes this piece as an attempt to coerce the machine to "yield his feeling of the moment," which results in a desire for simplicity, for extended durations which bring security.

Recording of Wilhelm Zobl's Andere die Welt, sie braucht es.

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 Otto Laske's Structures IV: Distances and Proximities.

Recording of Juraj Pospíšil's Méditation électronique.

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

Recording of Gerald Plain's Ripsnorter. The American slang term "ripsnorter" is defined in the dictionary as a thing that is unusually violent. "Ripsnorter" is one of a series of compositions that attempt to incorporate materials that are characteristic of Kentucky. The composer uses the folksong “Joe Clark,” changing the words slightly at the opening of the composition to achieve a gruff-like quality.

Recording of Sumitani Satoshi's Couverte.

Recording of Satoshi Sumitani's Cluster of Nephrolepis Marsharies.

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 Lucien Goethals's Meliorbis.

Recording of Philip Rosenberg's Assemblage for tape.

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

Recording of Peter Richard's Musique concrète II.

Recording of Stephen Dembski's Sound Beach. (Another division) perhaps two conceptions of electronic music? One in which the tape produced is the performance of a score (regardless of that scores actual existence), the second: where the tape is a score in sound to be performed by the listener as he heard it. In the first, micromanipulation of sound leads ideally to an electrically phrased, dramatic performance of musical ideas, which the listener hears in one specific manifestation, one of the innumerable possibilities of their performance. In the second, the same came in the maker's craft produces a shining crystalline structure, a geometrically exact pattern of sounds which will be performed, perceived into human elasticity, by the listener, and so, in the ear-mind of that person, specified into an exact, singular performance. Always interplay in either domain, of course: few pieces on tape rest entirely in either domain. Sound Beach is probably weighted towards the first; its particles were born in improvisation and later melded and performed to charge their interaction. And the present performance tape is a first one, a rough one: plenty of dirt and ragged ensemble. The work is dedicated to the composer's mother, Mina Dembski.

Recording of Joris De Laet's Sjiwioobaa.

Recording of Antonio Mastrogiovanni's Cuauhtémoc. The work "Cuauhtémoc" is dedicated to this young Aztec king, who defended the city of Mexico against the Spanish conquerors commanded by Hernan Cortes. During the siege of this city, nine-tenths of the Aztec population was exterminated, and Cuauhtémoc himself was tortured and assassinated by Hernan Cortes. Three fragments of indigenous texts are used in the work: The first text is the one recited on the occasion of the birth of a Mexican child, and is mixed with the name Cuauhtemoc. The second text is a description of the Spanish army. The third text is a description of the city of Mexico after the cruel siege.

Recording of Teresa Rampazzi's La Cathédrale.

Recording of Bülent Arel's Six and seven