Recording of Ricardo Mandolini's El cuaderno del alquimista. This work utilizes the human voice in several ways as well as pauses. These pauses act more as a way to articulate than to separate the various events. This piece is originally stereophonic and creates a line of composition close to program music.

Recording of Alcides Lanza's Ekphonesis V. For actress-singer, lights, and electronic music. This work is rooted in the composer's continuing interest with "memories". This piece explores the "library" of memories, reflections, thoughts, and ideas, supposedly encountered if the soloist could enter the composer's brain. During this "tour of the brain," the "tourist" is confronted with the recollections of the composer, plus her own memories.

Recording of Guido Baggiani's Senza Voci 2. This work is a piece in three parts. From a base material consisting of four sine waves, three groups of sine waves were derived. The frequency spectrum results from a process of amplitude modulation. There are two different levels of the same process. First level: frequencies belonging to the same group modulate each other. Such reports generate, for each group, four different "Group States". Second level: frequencies belonging to one group modulate another group. This is how the four groups relate to each other.

Recording of Rolf Enstrom's Directions. For computer and electronic sound. Most of the sound material was produced at EMS' electroacoustic music studio as well as its analog studio. Following the composers instructions, the computer gives some musical objects, to the performer. That are needed and that the composer or creator can work on in the analog studio. Another objective was to work in an instrumental way with electronic material.

Recording of Anthony Holland's Sister kate, S. HZ. Originally written for clarinettist Jeffrey C. West, this work is intended as an abstrack work for clarinet and tape. The work recounts some of the sounds heard by two young "bohemian" musicians on their first trip to Paris, France around 1978. It also references a missed appointment with Nadia Boulanger.

Recording of Gene Carl's What the River Said. This composition is based on the sound of a piano string (played by an impulse generator through an electro magnet) is rotated around 4 loudspeakers. After many listenings, the movements of the sounds took on musical forms. The composer created both smallest and largest structures on which the piece is based. Through extensive tape manipulations a spectrum of sounds evolved from the first sound sources. The title comes from the poem, " the Wasteland ", by T.S. Eliot. In this poem, the river is an important symbol, carrying the signs and debris of civilization along its route. In the same manner the movement of a natural-sound (piano strings) carries the musical message and form with it. In this way nature speaks to us.

Recording of Klaus Röder's Klangbild. The basis of this piece was a guitar improvisation. The tape with the recorded guitar sounds was cut at suitable points. The cut pieces were sorted and classified. So there were several small musical motifs which were instrumented afterwards by electronic means.

Recording of Denis Smalley's The Pulses of Time. The Pulses of Time reflect the varied behavior of pulses: the regular pulses of meter, the much slower pulses which pace sections of music, and pulses which form the interior character of sounds - the accelerating pulses of a bouncing sound, and the fast pulses creating the grain in sound textures, for example. The different atmospheres in the work are generated by the major sound sources: the electronic bounced family of sounds, metallic harmonies which expand the resonances of dramatic gong-like attacks, noise contours, drums and percussion both real and synthetic, and the clavichord which provides a rich reservoir of sounds - deep clusters, sighing pitches, resonances truck on the soundboard, strings plucked and stroked. The clavichord sounds remain raw and untreated.

Recording of Arrigo Lora-Totino's Trio Prosodico. This work is modeled after a 'da camera' musical. There is no instrumental music. There is the natural melody of the diction, in three contemporary voices. All three voices are the composer.

Recording of Shin'ichi Morita's Convergence and Divergence. This piece was made using the sound of spinning lens. The spinning lens gradually converges on account of gravitation. This sound makes rhythm of natural acceleration. And by reversion of tape, the convergence changes to divergence.

Recording of Usko Merilainen's Ku-Gu-Ku.

Recording of Jozef Malovec's B-A-C-H. The following materials are used in this composition: with a determined certain tone pitch such as succession of tones B-A-C-H at different pitches and transformations, two citations from the work of J. S. Bach realized on the synthesizer ARP plus the play-back of alto recorder/cantus firmus of the second--complete citation, slowed formants of the vowels in the introduction, with undetermined tone pitch such as noises and short impulsed formations at a different speed of the tape.

Recording of Roland Willmann's Salve Regina. The Gregorian chorale Salve Regina was the point of departure of this work in that the composer tried to alter the original form but followed and supported it in a formal and expressive way using electronic sounds. The usage of the initial motif to the final corresponds to the cyclical form of the same chorale. The repetitive formula mentioned in the chorale is another structural element that were created in 3 echo recordings.

Recording of Daniel Vermette's Le Lac.

Recording of Carl Stone's Unthaitled.

Recording of Takehito Shimazu's Beginning of the Spring.

Recording of David Kenneth Mason's Picnic Four.

Recording of Takehito Shimazu's Apostagie. This work is only composed with sine waves. This is one of Shimazu's conclusions for the pursuit of topological form. The piece was created at the Berlin Studio (FRG).

Recording of John Celona's Waveforms. The source material is the Pacific Ocean recorded with a portable Stellavox while standing knee-deep in breaking waves and following their peaks and cascades with microphones. The material was then mixed in a studio according procedures derived from Fibonacci series with followed from the sequence of wave patterns on the particular day the recording was made.

Recording of John Celona's Music on One Timbre. The computer-syntesized tape was produced using an organ timbre as the fundamental sound source. Microtonal variations in tuning were introduced in order to change the phase relationships within the harmonic spectrum of the massive choral aggregates. It can be discovered that interesting and unique changes in timbre result from orchestrating the harmonic spectra of a complex waveform. The organ timbre provides such a base.

Recording of Barry Truax's Aerial for solo amplified horn and four computer-synthesized soundtracks performed by Steven Field. Aerial is characterized by an interplay between the solo instrument and the taped sounds in terms of complementary and contrasting sound colors. It attempts a close blending of the horn with the tape, not only in terms of timbre, but also with frequent pitch references, similar rhythms and quadraphonic spatial amplification. The horn is not intended to be heard as a 'solo' voice, but rather as an integral element of a complete environment, sometimes leading, sometimes following, and in the final section, gliding effortlessly on its currents as suggested by the title. The piece is closely related to part II of the composer's Love Songs for voice and tape, and evokes the sense of landscape, mountains, clouds, and lakes as related to the love imagery found in that piece. The work is also inspired by a comment of John Cage that "in landscape there are no inherent contradictions." The work was written for and is dedicated to James MacDonald. Both the tape and live part were realized with the composer's POD6 and POD7 programs for computer sound synthesis and composition at Simon Fraser …

Recording of Jean-Claude Risset's Songes. Songes was produced at IRCAM with a variation of the MUSIC V program. The original program, designed by Max Mathews was extended by John Gardner and Jean-Louis Richer so that it can process digitized sounds as well as synthesize sounds. The piece uses some sound materials from Mirages, a piece for 16 instruments and tape commissioned by the Donnaueschingen Festival (1978). The title suggests the dreamlike nature of adventures set on another scene: adventures from an absent, imaginary world. The identity of sound beings that sometimes escape material constraints dissolves in the continuity of textures, in the flow of deformations, displacements, liquefactions. At the beginning of the piece, the computer was used to assemble, superimpose, tile five motifs - these motifs, each lasting 2 to 5 seconds, were recorded separately by 10 instrumentalists of the Ensemble InterContemporain. In addition to the superimpositions, the instrumental sounds have undergone modifications governing in particular spatial effects. The harmonic structures of these patterns, repeated in a quasi-obsessive way, are repeated in a high harmonic fabric, then in inharmonic synthetic sounds. The components of these sounds can, depending on their temporal profile, merge into simulacra bells or dissociate into fluid …

Recording of Andrzey Biezan's L' Épée d'un Archange.

Recording of Brenda Hutchinson's A Grandmother's Song for tape, in 5 parts: I. The Reunion II. The Peach III. Father IV. I Forgot V. Brother Day. This work was created at the Center for Music Experiment at the University of California in San Diego.