Recording of Ákos Rozman's Images of the dream and death. The intention of this piece is to musically portray good and evil. Rózmann worked with musical motives resembling sounds and phenomena in our environment that represent forces and feelings, composing according to traditional Western style (i.e. the dialectic form of the sonata or the repetition and change of the variation).

Recording of Lars Gunnar Bodin's Dedicate to you II. A text is fragmented by the equipment of the electronic music studio and then processed to form a model of semi-subconscious communication. The voice fragments are then processed and manipulated with electronics to create the granular synthesis like sound.

Recording of László Király's Adieu a Terez. The sound materials of the composition were comprised of modulate female voice with diverse electronic mediums.

Recording of Jonty Harrison's Pair/Impair.

Recording of Frank Royon Le Mée's Complies, Pour un Lendemain de Fête. Extracts from the three great hours of the office for a day after a holiday. For voice, processing device, tape, analog synthesizers. The vocal sequences have been developed and are sung by the composer. For compline, techniques used, song with harmonic (2 voices), Tibetan song.

Recording of Francis Dhomont's Mais Laisserons Nous Mourir Arianna? performed by soprano, Marthe Forget. Several polemics underlie and articulate the piece: opposition, between two types of time: plethoric time (very rich in information, exploding in groups and cells of discrete micro-elements) and fixed time (frames--slow and continuous evolutions), contrasts between the mobility in flight ((in the range, dynamics, etc.) of areas fixed in relation to each other - lightning paths, fractures of the continuum - and the permanence of the voice (that of which the 'origin remains unequivocal), dialectic between the increasing precipitation of disturbing events (until the explosion around the 11th minute) and their rapid disappearance until the coda, a sort of anamorphic resumption/response of the slow progression which preceded, and finally: conflict (mortal?) Between this Arianna which evokes another lament and confused with a famous lasciatemi morire and the implacable proliferation of an entomological universe.

Recording of Michel Longtin's Une Croix de Bouleau au Nord.

Recording of Roger Reynolds's The Serpent Snapping Eye for trumpet, percussion, piano, and 4-channel sound. It explores the ways in which instrumental sonority can be matched by and blend with synthesized sound. All of the synthesized sounds belong to three classes of timbres. Each class in turn is based on a particular aspect of trumpet sonority, both as it appears to the ear and as it is revealed by spectral analysis. The Stanford Digital Synthesizer allowed the use of multiple complex frequency modulation instruments simultaneously so that each of the 4 channels could be programmed to receive information of distinct frequency content, envelope shaping, and temporal character. This sound material was consequently made to move spatially, producing a situation in which one was physically inside a unitary, composite sound the individual components of which moved. The shape of each instrumental phrase parallels one of the 3 models used to control the temporal structure of the synthesized sounds. Thus the models for the electronic sounds find a second more flexible expression in the activity of the live performers.

Recording of Rudolf Růžička's Malefica performed by Ars Cameralis and Zuzana Matoušková.

Recording of John Winiarz's Night-Night Flower, this title makes reference to a plant of the desert called "Night-blooming cereus," a plant that flowers in darkness, The flower dies at dawn. It is not, however, a program music, but rather an evocation of the atmosphere suggested by the images of the desert, the night, and beauty. The materials used come from electronic, natural, and instrumental sources, treated throughout by filters and ring modulation. The tape was realized at the Studio of Electronic Music of McGill University in Montreal, Canada.

Recording of Joseph Dorfman's Vague de Temps. The basic material on which it is constructed was taken from an earlier composition of the same year, the Ballet music Boutade. It is a concertante work recorded on tape, the dynamics being pre-set by the coimposer, built-in in the taped performance and not to be changed. There are six sections, played without a break. The form of the work, as divided into these six sections is A-B-C-D-C-E. The fourth section D under the title "Sacrifice", is the culmination of the work and also its longest part, lasting 9 minutes. The last section E is constructed from variants of elements in sections A, B, and D. The sections of the work are: Dreams, Struggle, Joy, Sacrifice, Dance, Return. The sound material from the following sources is used: Material concrete, processing of the material concrete, sound material produced by the electroacoustic equipment. Electroacoustic equipment used for the composition: oscillators, voltage, controlled amplifier, envelope generator, envelope follower, dual trigger delay, ring modulator, variable speed, sequencer, filter bank.

Recording of Robin Heifetz's För Anders Lundberg : Mardröm 29 30 10. This composition is a musical analogy with an event that occurred in the composer when he arrived in Sweden. He was arrested, which had a very big impact on him. The policeman's name was Aders Lundberg; Mardröm means nightmare, October 29 30.

Recording of Vladan Radovanović's Audiospacial. In its original form the work envisages a performance space including concert hall, communicating spaces on the same level, and possibly rooms above and below the hall. Both the electronic sounds and treated as sometimes mobile, sometimes stationary sound sources. The choir is required to move about the performance space according to trajectories coordinated with the time evolution of the score. A version for tape alone (and the corresponding score) has also been made. The electronic materiel is built up of sounds which range from autochthonous to quasi-simulation of instruments and voices. On the other hand, the vocal materiel sometimes tends towards an electronic sound. The electronic part was realized by a combination of two procedures. For some sections the score was designed for "instruments" which had already been defined, and was then strictly realized. Other sections were improvised, using the sequencer's digital memory to store the control data, which were subsequently copied into the score. While the openness of the electronic part has been closed by definitive choice of the sound events and their recording on tape, the choir part, in live performance, remains open in some places, where it is left to the …

Recording of Andrew Bentley's Portrait. This work composed for 3 groups of singers and tape, explores a range of vocal sounds stretching back from the musically familiar and traditional type of vocal production, know as "singing", through voiced and unvoiced sound production towards an abstract sound palette made possible by interactive combinations of electronic and vocal sounds heard from the tape. Because of the new significance which words take on when set to music in a traditional way. The composer took the alternative approach of re-composing the text (a poem by Gertrude Stein) as part of the musical events, fragmenting word and sound play but leaving the more declamatory phrases in tact.

Recording of Michael Mac Nabb's Dreamsong. It features a mixture of synthesized, digitally recorded and digitally processed sounds. These sound, along with the precision control of digital processing and mixing, result in an expressive sonic continuum ranging from unaltered real sounds to those which are totally imaginary. The melodic and harmonic structure provides the framework for continuous timbral and textural transformations. The work was done using digital synthesis, processing, and sound editing programs, programs developed at the Center for Computer Research in Music and Acoustic at Stanford University, and implemented on a PDF-10 computer. Many of the techniques which made the work possible were developed by the composer. The soprano is Marilyn Barber.

Recording of Arthur Kreiger's Still Life. Still Life was realized at the Columbia-Princeton Electronic Music Center where it was completed in the Summer of 1978. Considerable care has gone into the construction of the instrument designs and into more general concerns for phrase, color, and texture. The work also explores extremes in dynamic levels. The title, Still Life, was suggested from an extended quiet passage whose character is predominantly one of stasis.

Recording of Alfredo Rugeles's Thingsphonia, an electroacoustic piece in which concrete and electronic material is combined. The characteristic elements which appear, among others, are different combinations of frequency modulation, short sequences, spoken voice, music boxes, coins, etc. The construction is in itself a permanent variation in tone color as well as in the form. This work was realized at the Studio of the Robert Schumann-Institut Dusseldorf and at the private studio of the sound engineer Michael Feller, who has also given assistance.

Recording of Bengt Emil Johnson's Scents. Gyran Rydberg transformed the rhythms of language, using different percussion instruments. Eugeniusz Rudnik gave it a careful and sensitive interpretation in the Polish Radio Experimental Studio.

Recording of Thomas Sjoland's A Jazzy One.

Recording of Jozef Rychlik's Le Rêve d'Eurydice. The sound material comes from two sources: the human voice (from the Polish singer, Olga Szwajgier) and the moog-synthesizer 35. These two worlds of expression meet here in the various situations, in effect composing a musical action that can be interpreted in two ways: Above all, like pure music, and also, like a scene from Euridice: "she wants to sing like orphé and ... She hopes that we have succeeded ..."

Recording of Michael Hinton's Her Quiet Witchery was made at EMS in 1978, with financial support from Swedish Radio. The original material is computer-generated, using the composer's own music programming system INT6. This material has then been considerably reworked with analogue equipment.

Recording of Frank Michaël Beyer's Schwebungen. The interference of sounds produces smooth, undulating movements that do not escape close hearing. In the moments of coincidence (knots) of this interference, a "bell" sound prompts the beginning of a new color.

Recording of Alfonso Belfiore's Aegror, a composition for computer made in 12 voices grouped in three channels. Two generating forces are at the basis of the development of the work, where one tends to the stratification (process also identifiable in the structure of the same sound) of the sound materials in massified and crystallized events, the other, contrary presence, tends, in the disintegration of these structures, to the restitution of a perceptible individuality to each layer up to the elementary ones of the acoustic parameters of a single sound.

Recording of Bent Lorentzen's Visione. "The form is a tautology in two parts. The first half violent, fast and strong. Second half is the same sound-categories but now soft and quiet. The composition ends with a harmonic sound." (Bent Lorentzen)