Recording of György Kurtág's Sch No. 2. The title applies to a series of works written for the electronic guitar. Second in the series, this piece uses very simple technical means: fuzz, wah-wah, feedback on the bass guitar. Kurtag's intention is to exploit the acoustic possibilities of the bass guitar. Recording made in the electronic studios of Radio Hungarian (1977).

Recording of Joel Chadabe's Setting for spirituals.

Recording of Akil Mark Koci's Filigran 4.

Recording of John Chowning's Stria. The work uses the processes of computer synthesis to precisely control the spectral components - the partials - of sound. A non-tonal division of the frequency space is based on the golden ratio which is also used to determine relationships between inharmonic spectral components. Chowning received one of the Institute for Research and Coordination in Acoustics/Music's (IRCAM) first commissions to compose a piece for the first series of concerts of the Institute (which was presented by Pierre Boulez in Paris of 1977) at the initiative of Luciano Berio. Stria was composed between the summer and autumn of 1977 at the Center for Computer Research in Music an Acoustics of Stanford University.

Recording of Iván Patachich's Ludus Sinteticus. This composition includes synthetic sounds and contains nine part of form that contrast in atmosphere and construction to each other. Two fundamental structures characterize the composition: a successively built block of clusters and a kind of percussion-rhythmic structure.

Recording of Bogusław Schäffer's "Pour bande et instruments divers" ("For tape and various instruments")

Recording of Paavo Heininen's Maiandros, Op. 37, for tape. It was commissioned by Finish Radio. It was realized on 23 March 1977.

Recording of Samuel Headrick's Concertante for Violoncello and Magnetic Tape. It is aggressive and decisive in nature with sections that emerge from and evolve into one another, giving the piece a feeling of inevitability. The title describes the concert-piece in which both instruments are used in virtuosic solo capacities. It was inspired by Brahms's Symphony Number One, First Movement and Alfred Lord Tennyson's "Ulysses."

Recording of Mark Schubert's Merchants. This piece is a progression from single isolated events to total unification of all sounds. The method of doing so involved simple mixings of the different sounds (first individually presented), extending the events with loops, rapidly splicing different timbres together, and finally using tape echo, blending all the sounds into a climactic ending.

Recording of James Needles's Lyric Density I. This piece is the first in a series of three works which explore the development of density from a steady-state sound into a more defined lyric and linear statement. In this initial movement, short and abrupt crescendos promote areas of high attack density often veiled by a continuous foreground or background sound.

Recording of Raoul de Smet's GAM 77. It is a work based on concrete sound material, specifically a cookware set on which the composer improvised. In the studio, the sounds were kneaded and transformed until it reached a sound comparable to gamelan. The title refers to it and when one reads the English title ("game"), it refers at the same time to the composer's activity. As soon as the material was fixed, it was organized in canon three voices. GAM 77 was realized at the Institute for Systematic Musicology (IPEM) in Ghent in 1977.

Recording of Vladan Radovanović's Recorded. The attention in this piece is focused on the interaction of sound and semantic aspects of the word "recorded" and the sounds that accompany it. At times reversible elements oppose the irreversibility of the flow of the word.

Recording of Neil Rolnick's "Ever-Livin' Rhythm." All of the sound material comes from fragments of African music taken mostly from field recordings of music of the BaBenzele pygmies of Central Africa, which was then transcribed by Rolnick. The rhythmic drive of the piece is similar to the kind of infectious music which has come out of the African diaspora. The computer part was realized on a mainframe computer which would calculate the batch files, which is an aspect that endures in Rolnick's later works as well.

Recording of Richard Zvonar's Windows for two-channel tape. The piece is described by Zvonar as being "an animated film for the ears." The sonic images are meant to invoke glimpses of alien landscapes, unknown and yet strangely familiar. Sound materials were taken from choral sound masses, filtered and gated through a Buchla 200 Series synthesizer. No electronic sound materials were used.

Recording of Martin Schwarzenlander's Unter dem Pflasterstein liegt der Strand. The music is interspersed with text about demonstrations in East Germany during the 1970s.

Recording of Henri Pousseur's Liège à Paris for tape. The preposition "à" refers to several possible verbs: first, Liège thinks of Paris, and his first way of expressing it is to go there in a fictitious way, to play to visit it, to be there. So one can perceive that this is not just an illusion, that Liege (just like Geneva or Montreal) is in Paris, in every sense of the word, including that of 'to belong'. All these cities are part of a vast linguistic and cultural fabric, of which Paris is undoubtedly the heart. Finally, he dreams of a Paris really deserving its title of "City-light", to which Liège would strive to answer (even if its blast furnaces are extinguished one after the other) by that of "Cité ardente". Apart from the spontaneous, daily, improvised words gleaned from here and there by more or less indiscreet tape recorders, apart from four groups of brief quotations from Arcane 17 by André Breton, and apart from a promulgation of a rather official, easy to identify (and that our author has already incorporated into one of his prose), the texts used are all extracts of works by Michel Butor ("I hate …

keywords: panorama, plaza

keywords: panorama, plaza

keywords: panorama, plaza

keywords: panorama, plaza

keywords: panorama

keywords: waterfront development ; View NE of Grand Canal w. Rialto Bridge (by Antonio da Ponte, 1588-92)

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This beach scene of sunbathers, beach walkers, beach umbrellas and sailboats is printed in various hues of red, yellow, blue and pink.