Recording of Jean Piche's Prélude Pour Fête Foraine Et Synthétiseur. This piece is an exploration of the acoustic structure of a popular party. The environmental sections of the work come from a binaural recording of a party crowd gathered for the annual Carnival parade in the city of Quebec. The moments preserved are those preceding the arrival of the parade. The core of the piece was done in the studio with a MOOG synthesizer, using the temporal structure of the environment as a medium. In a single shot the electronic section goes from a slow, static tempo (referring to the acoustic macrostructure of a crowd - lots of internal changes but temporal homogeneity at all) to a fast tempo where the junction is made with the micro structure of the environment. The electronic synth of this last moment wants to get closer to the organic timbres of the voice and the trumpets used by the folks to ring their exuberance very loudly.

Recording of Maggi Payne's Transparencies. Composed using the Moog synthesizer, this four channel electronic piece deals with spatial displacement via carefully controlled phase, pitch, and location relationships. Synchronized slide projections frequently accompany performances of this work. The title derives from the projection of transparencies (slides) of oscilloscope images and from the transparency/delicacy of the sounds used in the piece.

Recording of Reynold Weidenaar's Drive.

Recording of Franck Royon Le Mee's Guimauve.

Recording of Benno Ammann's Mouvements.

Recording of Bohdan Mazurek's Childish Dreams.

Recording of Tony Van Campen's Sintering.

Recording of John Anthony Celona's Timbral-Orchestral.

Recording of Teresa Rampazi's Melismi 2.

Recording of Satoshi Sumitani's Contort Continuum.

Recording of Takehito Shimazu's Vertical Prelude. The material of this work consists of instrument sounds, violin, bassoon, clarinet, etc. and voices: man, woman, oscillators and concrete sounds. The tones appear mainly in the highest and lowest registers of instruments or voices in this work. This work was produced in the studio of Shimazu and that of the TAT in September 1976.

Recording of David Keane's Study for Double Bass and Tape Recorder.

Recording of Maggi Payne's Spheres. Composed using the Moog synthesizer, this four channel electronic piece deals with spatial displacement via carefully controlled phase, pitch, and location relationships.

Recording of Michael Keane's Ambulator Nemorensis. This piece was put together as a preliminary study for an experimental film by Nicholas Kendall called Tala. While the actual music used in Tala was quite different from Ambulator Nemorensis both are attempts to create an imaginary landscape (or to use Murray Schaefer's term "soundscape").

Recording of László Dubrovay's Mouvement éternels. The work is part of a series comprising 3 pieces. The musical material of the three works is the same, drawing its origins in the coding of 4 numbers. It includes 8 layers. Each layer has another tempo in the internal movements/repetition/modulations of the timbre and movements of spaces of the sounds in the version 4 tracks. Modulations were made by Synthi AKS at EMS. Work done at the electronics studio of Magyar Radio Budapest.