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 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.

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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 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 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 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 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 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.

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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 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 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 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 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 Akil Mark Koci's Filigran 4.

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.

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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 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.

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Recording of Theresa Rampazzi's Grumbling.

Recording of Max E. Keller's Grundgesetze III.

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.