Recording of Luc Ferrari's Presque rien n°2. The composer describes this piece as a narration but without storytelling; instead, insinuating the passing of time through events. The intention to tell a story is there, but remains vague.

Recording of Natasha Barrett's Buoyant charm. This work is for electroacoustics and mixed ensemble and explores the relationship of instrumental timbre and acousmatic sounds. The composer discusses the importance of spatialisation and notes that the number of performers and the size of their instruments resulted in a relatively large spatial occupation.

Recording of Lucien Goethals' Tres momentos musicales. This work was composed for the Belgian violinist Walter Lievens. A violin is meant to play counterpoint to each of the three pieces within the work. The electroacoustic track was created with the Synthi 100 and synthesized violin sounds.

Recording of Lars Gunnar Bodin's For Jon - Fragments of a time to come. The work is a dramatic cantata, with vocal sections for both chorus and soloists alternating with recitatives and instrumental interludes. It is based on a series of texts characterized by a kind of "surrealistic science fiction" testimony and reports about experience in other worlds, real or imaginary. The texts are never sung but are often melodically "coloured", "composed" with the aid of electronic means. The composition also includes a mixed chamber chorus of twelve singers and a soprano soloist.

Recording of Francisco Kröpfl's Musica para percusion 1. This work is for electronics and processed pre-recorded sound.

Recording of Eugeniusz Rudnik's Ready Made '77.

Recording of José Vicente Asuar's Amanecer. Amanecer is a formally very simple work. Through this and other works the composer projects the possibilities of electroacoustic music in a sound universe where harmonic intervals and a formal conceptualization not far from impressionism prevail. The rationale behind works like Amanecer is a break on the path of a creator. From a utilitarian point of view, Amanecer is intended as music for Ballet, as an introduction to some more breathtaking work that is yet to be written.

Recording of Tommy Zwedberg's Face the Music. This piece is made for solo trumpet and tape. The trumpet plays without any electronic manipulation. The trumpet has also been used as material to make the tape part. In the piece there is also a piano as a concrete material to the tape part.

Recording of Eugenio Giordani's E'Tape. The composition is a study on the available possibilities offered by the properties of interconnection of the analog systems for sound production at the LEMS (Electronic Laboratory for the Experimental Music). Besides this, E-Tape explores two different techniques of spatialization of the sound through the standard quadraphonic reproduction. The piece is formally organized into various sections, each based on a certain type of synthetic sounds material, characterized by an introduction (presentation of the materials) and closed by a final recapitulation. All the material used in the various sections come out from sequences of filtered, ring modulated, reverberated sounds, and a lot of cutting tape. One of these sequences, turns out like a kind of thematic element since it is several times reused and developed during the whole composition. This “pseudo-thematic” element was generated from a special frequency modulated process including three periodic waveform and a random generator. The circular spatialization is realized in two different way: the first one was used four ring modulator arranged as sequential gate for the control of four independent loudspeaker. The other method employs the equal delays of the four independents heads of an AMPEX AG-440: the source is fed …

Recording of Bernt Heller's Glas-Holz-Metall. Glas-Holz-Metall (Glass-Wood-Metal) are the materials using various "touchdowns" are set to ring. Small pinched metal plates; glasses played with the bow or the fingers; rhythms of bells and hammers, sounds recorded and processed gave rhythmically distributed series.

Recording of Alfredo Marcano Adrianza's Dencias. Dencias was created at the Laboratory of Electronic Music (CICMAT) in Buenos Aires. The work is conceived as a large surface of electronic sounds which appear and disappear in different harmonic combinations, on a resonant background of delicate character, formed of percussion sounds of instrumental origin. The slow, somewhat hypnotic unfolding of the work is sometimes interrupted by the violent appearance of fortissimo attacks.

Recording of Kees Van Prooijen's De Onbesuijsde Steenhoop. The overall structure of this piece can be described as an introduction following variations on a theme. The introduction which comprises more than half of the work is composed in a free style. The first subject of interest being how the computer makes sound and how sound is perceived. The variations are the result of a synthetic analysis process performed by the computer.

Recording of Peter Beyls's Rothko.

Recording of Reynold Weidenaar's Cicada. The male Cicada has a pair of shelf like drums with a complex series of resonators, located on the base of the abdomen, when the drums are vibrated the resulting sounds are modified by the resonators.

Recording of Francis Dhomont's A Cordes Perdues. This work was premiered on August 11, 1977 at the Festival de Saint Remy de Provence by the double bass player Henri Texier; it is, in fact, at the origin of a mixed music. Inspired by Henri Texier's album, Amir, it borrows materials, groups and objects from this record and sets out to return to a electroacoustic reflection. During the concert Texier improvised on the band which he had only acquainted me with a few hours before: reception and / or incentive ranges for the instrumentalist; three-dimensional play between disk, tape and live; confrontation of a fixed form and a moving course. Apart from the borrowings from the record or the quotations, all the sound materials come from the treatment of a few piano strings. The long final sequence, announced at the start, is obtained by the coincidence of chains, themselves the result of gestural work inside the piano. This version is specially composed for tape only.

Recording of Max E. Keller's Grundgesetze III.

Recording of Franck Royon le Mee's Taksim.

Recording of Reynold Weidenaar's The Tinsel Chicken Coop Wiener. This work explores the second-order maximized similarities between analogous tetrachords. Fluctuations involving only two interval-classes interact to control significant inclusions and exclusions. A vertical or diagonal cross-section of this work will yield prominent subsets of intersecting interval-vectors.

Recording of Patrick Fleury's Muinkkaai 45. "Muinkkaai 45" is also the address of the IPEM studios in Ghent (Belgium).

Recording of Theresa Rampazzi's Grumbling.

Recording of Reynold Weidenaar Reynold's Twilight Flight.

Recording of Rune Lindblad's Les Inventeurs The composition is based upon a poem of the French writer René Chars. Especially the relationships between freedom and discipline, cognizance an action, and other items like solitude and community, have been important when shaping the piece, which have resulted in the creation of voice fragments, solo or chorus, mixed with inarticulate screams and stifled exclamations.

Recording of Bruno D'auzon's Par La Fenêtre Entrouverte. This piece, varying in articulation, draws its basic materials from the four types of sound sources generally used in electroacoustic composition (concert sounds, electronic sounds, musical instruments, human voice). The initial sampling however remains intentionally restricted within each of these categories (concrete: sustained percussions on a resonating body; electronic: three fixed frequencies, a glissando; instrument: string, isolated percussions and bow maintenance; voice: two sustained sounds , tonic and breath). The work of variation was therefore essentially situated at the level of studio manipulations. It consisted of a "transformation" of the basic materials in each of the sequences and even within them while keeping a permanence of "timbre" and causality. The articulation systems are provided by a permutation of shapes and melodic profiles between two or more initial objects as well as between their developments. The piece concludes, after a final isolated variation (very reduced in time and dynamics), in the progressive superposition of the hinge variations in abrupt sequences that come closer and closer then in a tutti crescendo .

Recording of Reynold Weidenaar's Sweet Jesus and the Honkies. Sounds were processed by multiple delay, equalization, echo chamber, overload distortion, phasing, expansion, flanging, cross-channel penning, tape scrape flutter, editing, variable speed, multiple generation, feedback, and tape delay echo. The recording machines used included one 4-track tape recorder and three 2-track tape recorders.