Recording of Edmund Cionek's Abracadabra.

Recording of Francis Dhomont's Espaces sonores pour des textes de Jean Tortel. This piece begins with the poet himself (Jean Tortel) reading his poem aloud and then exchanging verses with a female speaker. Instrumental sections of music fill in the gaps between the speakers or play softly beneath the spoken voice.

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 Matthew Crowe's Kiwi Mesh.

Recording of Luciano Menini's Variax. The composer used bands of 4 "saw tooth" frequencies by acting in a bumpy way on variable-bandwidth filters controlled by sequencers. He utilized the ARP 2500 Synthesizer, a Revox A77 recording device, and a mixer.

Recording of David Koblitz's Monday Morning Quarterback.

Recording of Arthur Kreiger's Dance for Sarah. This piece explores a rich palette of electronic sounds - sounds whose timbral elements are in a constant state of flux in contrast to those which appear in a more steady - state fashion - sounds that utilize the upper registers of the spectrum set against those giving emphasis to the bass tessitura - sounds played in the most delicate pianissimo opposing those of a loud and raucous character. The form of "Dance for Sarah" is a modified ternary structure. The middle section closes with a crashing glissando that is followed by silence. A quiet high-pitched envelope emerges from this silence opening the final section of the piece while creating an aural reference to the beginning gesture of the composition. The final section contains a noisy, flamboyant climax. The energy of this climax is soon spent ant the piece gently fades.

Recording of Sten Hanson's La dernière nuit de Robespierre au 197'0.

Recording of Rodolfo Caesar's Tutt frutti.

Recording of Klaus Josef Mitzner's Casus Mixus.

Recording of Peter Beyls's Evolution inexorable et environnement humain.

Recording of Jeffery Bossin's Studie I. The composer's first electronic work, composed in 1975. It represents a study in the development and structuring of material derived from three phonemes.

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Painting of red, white, blue, gray and black near-abstract shapes and human figures.

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Recording of Jeff Bossin's Studie I. The composer's first electronic work, composed in 1975. It represents a study in the development and structuring of material derived from three phonemes.

Recording of Lief Brush's Treesway Solo. The only coloration that was employed in early sound handling was through equalization, balancing and combining mix-downs. Structure-wise, the piece centers around spaces in spaces, scale and proportion and the composer's soundworks effect an awareness of the psychological effects of sounds, for instance, from trees and wind transformation via the composer's windribbon. The basic groundwork includes several recyclings of the TerraInstruments including the signal discs, selfbroadcasting trees, lased raindrops and windribbon variations in an attempt to express the voltages from natural sources as recontextualized audible constructs: offering personal connections to the long term aural memories of earthguests.

Recording of Francis Dhomont's Métonymie ou le corps impossible. Two possible readings: 1) "Metonymy", figure of rhetoric; "An object is designated by the no of a similar object". Uses 4 families of sound sources: musical instruments, voices, concert and electronic sounds. Most sound objects are "diverted" from their context; in this lies metonymy. Each family offers collections of objects cutting the duration in pulsed time/smooth time by contrasts, oppositions, slips ... It is also a discourse by associations (one sound calls another). The voice neglects the "discrete units" of language to retain only the prosodic features. 2) Impossible route of a "body" (figured by vocal fragments) locked up, dissolved (murdered?). In another body/place, which unceasingly defeats, tears, covers it. The voice is always spoken out of meaning in a kind of primary glossolalic act. Drift impulse momentum engulfed after multiple attempts of emergence. 4 Parts: 1 - 1'45 Instrumental / vocal / concrete / Electronic 2 - 6'27 Pulses / iterations / cells / groups + 2 'rests' 3 - 4'17 Large notes + mixed variations 4 - 5'02 Frames + coda

A recording of Eduardo Polonio's Espai Sonor.

Recording of Frank Royon Le Mée's Guimauve. Band concert version of a musical theater for: 3 readers 2 dancers 1 walk-on actor and tape recorder As a result of a month's stay in a psychiatric hospital, in all that sick "I succeeded?" After several attempts, gathering memories, various notes to paint a picture of tension, pain, laugh, forces, splinters, implosion, imbalance… Guimauve 4 parts of atmosphere

Recording of Leif Brush's Treesway Solo. “After an intense period of analog familiarization with the range and enormity of available sounds extraterrestrial and in nature, I tried the only techniques then available to me, tape manipulation and speaker placements. The only coloration that I employed in early sound handling was through equalization, balancing and combining mix-downs. I have always monitored from nearly neutral sensors, and my interest has been in trading, configuring and juxtapositionings and in the presentation of sound in natural and climatically different contexts, mainly exterior and in real time. Within the 1980s, I worked with 200-speakers using an Intel 8080 microprocessor used for satellite teleperformances, with collaborators and in outdoor "studios." Structure-wise my work centers around spaces in spaces, scale and proportion, and my sound works’ effect on awareness of the psychological effects of sounds, for instance, from trees and wind transformation via my wind ribbon. I am concentrating on conceptualizing a segue from Internet to real time with on-call two-way availabilities of my data-laden resources. My basic groundwork includes several recyclings of the TerraInstruments, including the signal discs, self-broadcasting trees, lased raindrops and wind ribbon variations in an attempt to express the voltages I seek from …

Recording of Eugeniusz Rudnik's 4 Poèmes made in a technique for a recording studio of hand-held electronic music. The sound material is based on electronic effects, rustling, instrumental and vocal sounds. Each part is integral, allowing them to present in the order of choice.

Recording of Thorsteinn Hauksson's 17 Juni 1944.

Recording of Daniel Starr's Barriers. Barriers is a quadraphonic electronic composition, which was composed in the interval May-June of 1976 in the Yale Electronic Music Studio, using both classical and control-voltage technique. It comprises 30 brief sections lasting 8 to 45 second each, which are in turn divided into two larger sequences of 15 sections, separated from each other by several seconds of dead silence in the center of the piece. Each section on either side of the piece explores a unique combination of sound-points, short, long and continuous tones. The piece is thus loosely organized according to a durational scheme. The opening consists of only short tones, the ending only of long tones; the first half ends only with sustained tones and after the silence, the second half begins with “points” alone. The composition deals specifically with the development and dramatic aspects of those elements, which are carried over from one section to the next, and with the introduction and phasing out of the different kinds of material. Most of the sounds used in the work are pure in character, which is to say that they have a single clear pitch despite the fact that they may have been …