Recording of John Rimmer's Poi for tape. In the piece there are two groups of pitches - one conjunct, one disjunct - which interact with each other in various percussive and string-like timbres. The movement of the music suggests the whirl and glide of the "Poi", a small flax ball, which is a part of the popular Maosi dance of the same name.

Recording of Richard Zvonar's 3 for 5 for percussion, performed by Daryl Pratt. The piece is divided into three movements, with a different set of instruments for each. These are set up in three locations, which form an arc left to right across the performance area. Four playback speakers are situated beside and between the three playing locations. The tape sounds are entirely derived from recorded sounds of the percussion instruments. Throughout the piece, the live and recorded sounds continuously diverge as the piece progresses until at the end, the original sounds have been greatly expanded and enriched through speed transposition, mixing, filtering, etc.

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 Tamas UNgvary's Akonel no. 3. As per the composer, there is no program note for this piece. It is intended to be used for listening purposes only.

Recording of Tamas Ungvary's Akonel Number 3.

Recording of Scott Wyatt's "All for One" for solo percussion with electro-acoustic music performed by Thomas Siwe, percussionist. The piece was composed for a unique arrangement of percussion instruments and loudspeakers within the performance area, creating a large sound sculpture. "All for One" was written for and dedicated to percussionist Tom Siwe. It was awarded the 1984 CIME grand prize at the 12th International Electroacoustic Music Competition in Bourges, France.

Recording of Jean Piché's Ange for tape or radio performance. It is a timbral work in which the main goal is the total acoustic mixing of natural and synthetic sound material. In addition to the synthetic sounds that are created through a digital synthesizer, four voices - two men, two women - are introduced in the final mix and are hardly distinguishable from the synthetic sounds.

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 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 Jozef Malovec's B-A-C-H. The following materials are used in this composition: 1. A. Succession of tones B-A-C-H at a different pitches and transformations B. 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 C. slowed formants of the vowels in the introduction D. slowed beats on the crotales in the culminations point of the introduction 2. With undetermined tone pitch such as noises and short impulse formations at a different speed of the tape. These two contrast material levels create tension and by emphasizing one or the other level they form the musical pulsation of the composition.

Recording of Takehito Shimazu's Beginning of the Spring.

Recording of Rick Banks's Betsy, which is based on a story created by the composer. The computer program by which the piece is created emits sounds that Banks calls "Betsy" and Betsy's labels describe herself. "Betsy Butterfield didn't like counting nifty numbers so instead she tried jumping galaxies and times but soon found it was some different kind of goddess than her that never knew the suns."

Recording of Michel Lontin's A bientôt elfes, trolls et lutins.

Recording of John Melby's "Chor der Steine" ("Chorus of Stones"). It was composed on a commission in 1979 for the Twentieth Anniversary Celebration of the Experimental Music Studios at the University of Illinois at Urbana-Champaign and was first played at a concert there in the spring of that year. The work was produced on a large IBM mainframe computer, using the MUSIC 360 language for digital sound synthesis. "Chor der Steine" takes its name from the title of a poem by the Nobel Prize-winning poet Nelly Sachs. "Chor der Steine" is published by Merion Music, Inc. (Theodore Presser Company). The work was awarded First Prize at the 1979 International Electroacoustic Music Awards, Bourges, France.

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 Shinʼichi Morita's Convergence and Divergence. “Since one year, I studied to compose by the sound of glass. And in this piece I mainly use the sound of spinning lens. The spinning lens gradually converges because of the gravitation. This sound makes rhythm of natural acceleration. And by reversion of tape the convergence changes to the divergence.” – Shin’ichi Morita, composer

Recording of Michel Longtin's "De cristal, d'angoisse et de montagne" ("The crystal, the anxiety and the mountain").

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 Dubravko Detoni's D. A radiophonic composition for prepared harpsichord and magnetic tape with modified harpsichord sounds, it is added a tape made with the most different sounds coming from the harpsichord. The work consists of constantly changing cadences and refrains. The cadenza (in the middle of the piece) is performed by the harpsichord alone, while the choruses (in the background) are performed by the harpsichord and the tape. Each cadence has a different character: ecstatic, resigned, imperceptible, hysterical, ironic. They recast to the refrains which each represent a different shade of gray.

Recording of Bohdan Mazurek's Daisy Story. Key sonorities include the twittering of birds, the croaking of frogs, and vocal phrases as well as whispers, laughter and shouts. The piece was realizes at the Polish Radio Experimental Studio in Warsaw.

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 Philippe Menard's Disc-à-ma-belle.

Recording of Xavier Maristany's East Coker.

Recording of Ross Harris's Echo performed by Mary Robbie, trumpet. The work is for solo trumpet and tape delay, which has the effect of producing "canonic echoes" of the solo voice. In concert performance, the two channels of delayed sound are to be placed outside the performance area, there by expanding the space, and the performer's sound appears to move out from the player and away into the distance. The piece was written for Mary Robbie, who performs it in this recording.