Recording of Takehisa Kosugi's Catchwave 71.

Recording of Roger Doyle's Rapid eye movement. The title refers to the type of sleep called "Rapid Eye Movement" or REM, which is dream sleep. During REM sleep, the muscles of the eyes move as though the dreamer were watching something. Structurally, the work is conceived in the same way as Déjà vu occurs in life. There are 30 or 40 instances of mysterious familiarities of the same sounds placed in totally different contexts. Like the human cell, any extract from the composition will reveal the main elements comprising it - the part reflects the whole.

Recording of Elżbieta Sikora's The waste land, for fixed media. The piece is a journey through time and spaces. The present is mixed with the past, the ordinary with the extraordinary, dream with reality. The work was commissioned by the Experimental Studio of Polish Radio and was realized in October 1979. The text comes from T. Elliot's poem "The Waste Land."

Recording of Francis Dhomont's "Sous le regard d'un soleil noir" )"Under the Glare of a Black Sun") performed by the speakers Pierre Louet, Marthe Forget, and Arthur Bergeron. This is the original recording of the piece that was created in 1982. The text is primarily by Ronald D. Laing and the piece also features quotes by Plato, Franz Kafka, and K. Georg Buchner. The eight sections of the work were inspired by reading the work of the psychiatrist and psychoanalyst Ronald D Laing. The eight sections of the piece are as follows: 1. Pareil a un voyageur perdu (Like a Traveler Who's Been Lost); 2. Engloutissement (Engulfment); 3. Arrête! Arrête! Elle me tue (Stop it. Stop it. She's Killing Me); 4. Implosion; 5. Le moi divisé (The Divided Self); 6. Citadelle intérieure (Inner Citadel); 7. Pétrification (Petrification); 8. Le message quand vient le soir (The Message at the Coming of Night). The piece focuses on the experience of schizophrenia, something Dhomont calles a "particular form of human tragedy... the dissolution of the being and the exploding of personality, where a universe of implacable confinement is constructed." The "clinical commentaries" of the narrators, as the comments of a therapist/coryphaeus (though not …

Recording of Luigi Ceccarelli's "Abominable A" for magnetic tape. The piece includes the voices of Kadigia Bove, Francesca Furlanetto, Eugenio Giordani, Luciano Martinis, Michela Mollia, Achille Perilli, Marina Poggi, Enrico Pulsoni, Giovanni Puma, Kerstin Riemer, Claudio Rufa, Stefano Scodanibbio, Gaetano Trusso, and Catherine Verwilgen. The piece contains a recitation of all the words in the Italian vocabulary that begin with the letter A, read in sequence from voices with different stamps, rhythms, and intonations. To these are added other sequences in French, German, and English. The work is divided into fifteen sections, each of which has a different criterion for processing the timbre, rhythm, and space. It was realized at the Electronic Laboratory for Experimental Music at the Conservatory "G. Rossini" in Pesaro from 1978 to 1980.

Recording of Patrick Fleury's 12 heures 45 minutes.

Recording of Arsène Souffriau's Fusar 3 for four mixed voices, four percussionist and two synthesizers. This piece is aleatoric music and is a collective improvisation by the performers. This recording of the collective improvisation took place on Thursday, September 1979 at around midnight. The interpreters were Viollette Beaujeant, Madeleine Fabrice, André Van Belle, and Arsène Souffriau. During the recording, each performer spoke, sang and manipulated various percussion instruments. Then, a selection was made and various sequences retained by Souffriau were reworked electro-acoustically. He then manipulated these sequences in order to create the stereophonic version presented here.

Recording of Denis Lorrain's Droite, hommage à Le Corbusier. This piece uses ten basic materials whose durations are fixed in the range of 5-30 seconds and marked by percussive strikes. There are two free sequences that incorporate trombone and vibraphone. The piece is elaborated on by simple instrumental sounds and reading of texts.

Recording of Bernard Heidsieck's Tu viens chéri(e). The composer recorded 5 men and 5 women saying the sentence "Tu viens, chéri(e)" 150 times in a row and then combined this recording with mixed tape. The tape is stereo, with the women at the beginning on one track and the men on another, until all voices are together on both tracks. The entire piece represents a verbal orgasm with an unexpected phenomenon of more panic in each voice than of tenderness.

Recording of Pierre Boeswillwald's Un téléphone.

Recording of Dieter Kaufmann's Chanson.

Recording of Francis Dhomont's Espaces sonores pour des textes de Jean Tortel. This piece begins with the poet himself (Jean Tortel) reading his poem aloud and then exchanging verses with a female speaker. Instrumental sections of music fill in the gaps between the speakers or play softly beneath the spoken voice.

Recording of Dimitrios Iatropoulos's "Le soi, le choix et les autres" ("The self, the choice and the others"), five songs composed on the voice of Tibby Sachet. Iatropoulos calls this work a "composition psychoacoustique" ("psychoacoustic composition"). It is a study on the expansion and travesty of the voice that corresponds to the continual contradiction between the self and the choice of the woman. The choices the woman is faced with it that of active/passive, dad/mom, woman/girl, self/others. It is a representation of average female forces in a medium social environment in a language that is not too formal and not too casual. The intensity of the sentences are amplified by the montage on the magnetic tape which reflects the speed of the woman's thoughts.

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 Makoto Shinohara's Personnage

Recording of Gábor Darvas's Reminiscences for magnetic tape. The piece is made up of eight scenes which are built of concrete sounds reminiscent of past eras separated by distinct interludes. It composed at the Electronic Studio of Hungarian Radio during November and December 1979 and was realized at the Electronic Studio of Budapest Magyar Radio.

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 …

Recording of Pierre Mariétan's "Esquisse de quelques par dans Paris" ("Sketch of some part in Paris"). Uses sound clips of events in Paris (e.i. a car starting, kids playing, bells tolling, etc.).

Recording of Léo Kupper's Innominé.

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

Recording of Frank Royon le Mée's Complices, pour in lendemain fête. Extracts from the three big hours of the office for a day-after party. For voice, processing device, magnetic tape, analog synthesizers. The vocal sequences have been elaborated and are sung by the composer. For Complices, techniques used: singing with harmonic (2 voices), Tibetan singing. Complices: made following a study visit during the spring

Recording of Frank Royon Le Mée's Guimauve. Band concert version of a musical theater for: 3 readers 2 dancers 1 walk-on actor and tape recorder As a result of a month's stay in a psychiatric hospital, in all that sick "I succeeded?" After several attempts, gathering memories, various notes to paint a picture of tension, pain, laugh, forces, splinters, implosion, imbalance… Guimauve 4 parts of atmosphere

Recording of Nicole Lachartre's Mordre La Terre Vivante. In the first part, a large number of quasi-linear paths intertwine to create a semi-fluid mass that is sometimes even almost amorphous. This is followed by a section worked into a precisely sculpted dynamic profile and contrasting rhythmic formulas are introduced at times by a wide variety of instruments including various percussions over which an almost classical solo voice hovers. Then the strict rhythmic formulas are temporarily destroyed by aggressive material introduced in overprinting whose pitches and durations have been determined stochastically.

Recording of Carl Bergstrøm-Nielsen's "11 september." The text is from a document called "What is MIR?" which was sent out illegally in Chile in 1974 and from the appeal of MIR two years after the taking over by the junta, on September 11, 1975. A left-wing party, MIR stayed in Chile in order to contribute as efficiently as possible to the building of the opposition. Other sound material also includes sounds from a typewriter and a demonstration at Bastad, Sweden in September 1975 at a tennis match between Sweden and Chile with more than 4,000 participants. The text is taken in small excerpts from the document in Spanish, English, Swedish, Danish, French, Dutch, and Icelandic. The piece consists of three sections overlapping each other gradually, which shows the relationship between the spoken words and the immediate danger connected with that text. The first section "as a spontaneous statement," deals with the document at its direct background: the silence is broken, in spite of the danger connected with the writing, manifolding papers that criticize the politics and methods of the junta and discuss the strategy of the opposition. The second section deals with the document as a medium of discussion. At …