Recording of Ross Harris's Shadow Music. A single sound source--an orchestral chord--is used to generate all the materials and sonority of this piece. The work is in one movement in which the source undergoes continual transformation through speed changes, modulation, and filtering. The devices used to make this work: variable speed tape playback, filters, ring modulation, and tape recorders.

Recording of Miklos Maros's Manipulation II performed by Ilona Maros. The technique in this work is much like that used in Manipulation I by the same composer, but without the conditionals made possible by the Svensson box. The solo voice appears by itself, with or without treatment. Also, tape delay is used.

Recording of Arthur Kreiger's Thème et Variations. This piece was composed at the Columbia-Princeton Electronic Music Center, and composed in its image. "The timbral qualities were very thick and defined; the rhythms like an epileptic machine gunner; and the pitches right out of another decade."

Recording of John Elmsly's Diamant for electronic sounds. Diamant was composed in 1977, using a Flemish poem written and read by Chris Dries as text. Using a simple bank of tuned oscillators, a sequencer pattern to modulate an oscillator, and very simple tape manipulations to leave the words as intact as possible the work is intended as a meditative coloring of the poem. The tape was realized in the IPEM studio in Gent, Belgium.

Recording of John Anthony Celona's Lo Canto del Planeta. Lo Canto Del Pianeta (the song of the planet) is a computer-generated composition in four channels based on the digital software synthesis of complex waveforms using the principle of frequency modulation. Timbral complexes result resembling "natural" instrumental timbres. The auditory images are essentially: brass-like, reed-like, bell-like, and percussion-like. Rhythmic relations, in particular crisp attack cues, and distinct timbral images are used within a sound mass (e.g., the aggregate of carillon sounds), and individual voices are triggered at different time-points crating sub-patterns of melodic and rhythmic interest. Simulated tape delay (e.g., using envelopes of various attack and repetition) is used to build rhythmically varying polyphonies. Four different tuning systems are employed to produce deviations in intervallic relationships. The systems are: Pythagorean, just, mean-tone, and equal-tempered.

Recording of William Schottstaedt's Sinfonia for Computer. "Sinfonia" was composed between June and October 1977 on the PDP-10 digital computer at Stanford University's Artificial intelligence Center. All sounds were created using non-linear synthesis techniques, mainly frequency modulation and Wavesaping. "Sinfonia" has three movements entitled "An introduction to Forensic Toxicology," "Bucky Bug's Composure Corner," and "Death by Drowning." It is dedicated to CCRMA project director John Chowning.

Recording of Trevor Wishart's Red Bird. The resources available for its realization were-6 semi-professional TR (all stereo) (Revox A77s), a portable Nagra stereo TR, microphone recording equipment (but NO soundproofed recording facilities), and a 12-in, 4-out mixer. The only filters available during most of the period of composition were the EQ controls on the mixer. Specific source-sounds are chosen to solve specific problems in the realization in sound of the preconceived form scheme. In generating source-material, composed music and specially-constructed improvisation procedures are used, among other things. A special feature of the piece is the transformation of one sound into another (e.g. "Lis" to birdsong). The aesthetic of the composition demands that such transformations appear "natural" i.e. that they appear to be no more than recordings of strange real-world events. This places severe restrictions on the techniques, which may be used to archive such transformations. Most are done using a combination of performance and classical tape-techniques.

Recording of Fernando Lafferriere's Cercle Vicieux. The title "Cercle Vicieux" is an allusion to the technical means used: the electronic re-feeding (feedback or Ruckkopplung) considered as a vicious circle in an amplifier. The piece, in ternary, is of a very simple formal design; in the alternation of movements, moderate-slow-brisk, almost traditional.

Recording of Emmanuel Van Weerst's Mimoïde.

Recording of Joseph Dorfman's The Stones of Jerusalem, in three sections, "Galeed"--based off of Genesis 31; "Altar"--based off of Exodus 20; and "Tables of Testimony"--based off of Exodus 31 and Exodus 34.

Recording of Lucien Goethals's Pluriversum. Work was produced at IPEM, using 2 sequencers. The materials were sinusoidal, square and triangular waves, and the transformations were filtering, transpositions, frequency modulation, manual editing. Quarter-tone composition, constructed from a single basic figure of 24 sounds, whose multiple transformations are organized in 49 sequences, divided into 3 sound layers. The variable superposition of the 3 layers can give rise to a considerable number of slightly different versions of the same composition. It is the continual interpenetration of a number of systems related by their sound substance but at the same time autonomous, each having its own structure and periodicity. This work is dedicated to Françoise Barrière and Christian Clozier.

Recording of Theresa Rampazzi's Timbri 1597-1977. The work is realized only with the synthesizer ARP. The sounds by program Gabriel are inverted without any elaboration. The mixing work was produced in Rampazzi's private studio.

Recording of Theresa Rampazzi's With the Light Pen. The equipment used is an I.C.M.S. video terminal relayed with the IB IMB 370/158 computer. This device was designed by the engineer Graziano Tisato at the Computing Center of the University of Padua. Bessel functions applied by Rampazzi.

The composition Mountains for Bass Clarinet and Magnetic Stripe, written in 1977, is in all likelihood in a new stylistic development of the composer. It is especially the conception of musical duration that has changed. Thus I was surprised to find that the duration of this work - estimated at a few minutes during the work - finally turned out to extend to almost twenty minutes. This can be explained in part by the long haul of most musical events, and by a large number of multilevel rehearsals. Be that as it may, the long wavy and sinuous lines, rising and descending slowly, the high plateaus where the music seems to be gathering, have, after the fact, called the title of Mountains. What remains of my earlier music is the fascination of musical traditions in the world. Without wanting to, and without being able to locate them, distant echoes of some popular music seem to touch the music, through the western idiom of today and the technological means used. The tape was developed at the composer's electronic studio in Hilversum. The technical process consists in generating variations at several levels from a basic program.

Recording of Peter Beyls's Rothko. "The most important tool that the artist shapes through his constant practice is the belief in the ability to produce miracles when they are needed.” – Mark Rothko, “Possibilities” 1947 The 3 parts that constitute the work have a different macro-structure. They have a fundamental common interest in the color of sound. The work evolves from an extra-musical point of view: my interest for painters of colorful American plans, in particular Newman and Rothko. Both emancipate and materialize the color factor as the essential object of their work. In the work of Rothko, the hand that paints can always be felt through an acute logic of austerity, in the long run. The evolution of character of Rothko's work: his early works are based on a concrete starting point and his "transcendental rectangles" make up the central period of this work, the remarkable crystallization between content and form gives his work a preponderant place in post-war abstract painting. The electronic work "Rothko" confronts us with the form and certainly not the content of the work of Mark Rothko. I want to emphasize, however, that I did not pursue the idea of translating the image into sound. …

Recording of Alfredo Marcano Adrianza's Dencias. “Dencias” was realized at the Laboratory of Electronic Music (CICMAT) of Buenos Aires. The work is conceived as a large surface of electronic sounds that appear and disappear in different harmonic combinations, on a resonant background of delicate character, formed by 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 José Vicente Asuar's Amanecer. “Amanecer” is formally a very simple work. Through this and other works, I try to project the possibilities of electroacoustic music in a sonorous universe where harmonic intervals prevail and a formal concept not far from impressionism. For a long time I experienced, as other composers have, new possibilities of sound and structure, matter and musical form, with electroacoustic sounds. I have not abandoned the search, but I want to choose some things in works that are simple and easy to listen to for any auditor. This is the reason of being of works like “Amanecer”: a break in the path of a creator. From a utilitarian point of view, “Amanecer” is thought of as music for ballet, as an introduction to some work of greater encouragement that is still to be written.

Recording of Eugeniusz Rudnik's Ready made '77. Produced at the Polish Radio in 1977.

Realized at the Institute for Psychoacoustics and Electronic Music (IPEM) in Ghent.

Recording of Kees Van Prooijen's De onbesuijsde steenhoop. "De onbesuijsde steenhoop" was completed on March 30, 1977. The overall structure of the piece can be described as an introduction followed by variations on a theme. The introduction that occupies more than half of the work is composed in a free style, my first subject of interest being how the computer manufactures the sound and how this sound is perceived. The variations are the result of an analysis-synthesis process executed by the computer. We approach the rhythmic and melodic characteristics of a melody from the statistical analysis of this melody. Parallel to this, the computer, starting from the principles put into practice in the introduction, is approached in a more and more instrumental way until we hear the theme "savagely.”

Recording of Ludmila Frajt's Nocturno.

Recording of Jukka Ruohomäki's Late Afternoon

Recording of Lothar Voigtländer's "Variation und collage" for voice and tape. The text is from a poem by F. G. Lorca. The human voice serves at primary sound material (murmurs, screams, editing, deformations). There are few synthetic sounds that were created through the use of the ARP synthesizer.

Recording of Douglas Lilburn's Of time and nostalgia.