Recording of Francesco Galante's "Studio per die sorgenti" ("Study for Two Sources"). The musical form is a comtinuum and the music is a passage from a low to high complexity of sound materials, of the shape of textures and the succession of the events in the acceleration of time. It was realized in the electronic music studios at the Experimental Music Center in Rome in 1978.

Recording of Felix Powell's Suite from inscape

Recording of James Dashow's Partial Distances. It is the last purely analog electronic work Dashow composed. There are a few sounds in this piece generated by computer but significantly transformed and altered by analog techniques of one kind or another, such as dynamic filtering, delay line processing, extreme velocity manipulations, etc. The piece was made by the old tape cut and splice method, mixing and re-mixing pairs of ReVoxes onto a third one, and avoiding tape hiss with the newly invented dbx noise reduction box. The piece is in 4 sections, the first two blending smoothly into each other, and these are separated from the fourth by the giant multi-voiced "ostinato" movement that builds to the work's climax. The sounds are constructed from series of partials whose distances between each other vary from harmonic to inharmonic and are subsequently combined in a variety of ways. The title refers to distances between musical ideas and/or variants of the same idea, distances which are never extended, long, full or complete, despite what we say or do, but, like distances between people, only partial.

Recording of Herbert Brun's Dustiny, an electronic composition.

Recording of John Winiarz's Night flower performed by Le Duo Classique de Montréal: Davis Joachum and Eric Wilner. The title refers to a desert plant called a "night-blooming cactus," which blooms in the dark and dies at the first light of dawn. This is not a piece of program music; rather, it is an evocation of the atmosphere suggested by the images of the desert, night and beauty. The sound material used comes from electronic sources, natural and instrumental, processed mainly by lilting and modulation rings. The tape was produced at the Electronic Music Studio of McGill University in Montreal.

Recording of Maggi Payne's Lunar Earthrise. Performance is with four speakers accompanied by abstract slides. Composed at the Center for Contemporary Music at Mills College.

Recording of Peter Tod Lewis's "Harmonie II : Beklemmt" ("Harmony II: Oppressed") for tape.

Recording of Jan Segers's Study for horn and tape performed by André van Driessche. The work was conceived as a study for the horn, accompanied by magnetic tape. Performance requires certain technical skills from the performer. The general form is A-B-A. The first A section consists of a note with semitone variation, which is then developed by the horn from pp to ff. The B section consists of rhythmic, contrapuntal variations alternating with "cantabile" passages, which could be considered a development of the previous A section. The second A section is a complete reversal of A1.

Recording of Rodolfo Caesar's Candomblet. This piece was created through manipulation of the Candomblet record synthesizer. The choice of sound material follows purely musical criteria; there is no nationalist intention. Piece uses music originally made for dance.

Recording of Will Eisma's "Wormstekige Appels" ("Worm-eaten apples") for 4-track tape. The piece is made up of three parts, each of which is preceded or succeeded by growling or festoon-like sounds. The first part is made up of mainly low frequencies, the second part includes explosive sounds, and the third part consists of long and high sounds. However, each sound and phrase has been infected and distorted (worm-eaten) by a subject, such as noise, wrong dynamics, etc. It results often in sharp and rough sounds. The piece was realized in Studio Five roses in Hilversum - The Netherlands.

Recording of Robin Julian Heifetz's Harbinger, performed by the University of Illinois Contemporary Chamber Players, under the direction of Paul Zonn. The work is for six bass instruments and tape. There are two trumpets, two french horns, and two trombones which have been split into two trios which are then positioned on opposite sides of the performing space in order to maximize and fully exploit the spatial disposition of the sound. This also facilitates performance because each trio has its own special relationship to each loudspeaker near where it sits. The performers read off the score so that they may see where they are in relation to the other performers, which also facilitates the performance in a purely visual way.

Recording of Krzysztof Knittel's Odds and Ends. The sound material was made in the computer music studio at the State University of New York at Buffalo in 1978. Later these sounds were mixed in the Experimental Studio of Polish Radio in Warsaw. The premiere performance took place at the Warsaw Autumn Festival in the Warsaw Academy of Music on September 19, 1978.

Recording of Tamas Ungvary's Psalm 90.10.

Recording of Anestis Logothetis's "Wellenformen 1981" ("Waveforms 1981"). The piece was created from one recorded waveform which then was modified in various ways. It was realized in Stockholm at the IMPAC Computer Program Studio.

Recording of Andrzej Dutkiewicz's Six Meditations for electronic sound and piano performed by Dutkiewicz, piano. The electronic sounds are based on the sound material of the piano (mainly non-conventional sounds) that are electronically transformed by use of filters. Realized in the Polish Radio Experimental Studio in Warsaw.

Recording of Herman Rechberger's Cordamix. In this piece, Rechberger combines musical styles of stringed instruments from a variety of cultures, historical eras, and styles to create a sound palate that jumps to and from audibly different places and times.

Recording of Emilio Mendoza's Susurros. The title refers to the gray character of the piece, the feeling of death, and its calm acceptance of that death. The piece is based on the physical spactial movement of sounds and the changes of timbre and intensity of four basic sound that are produced in the oral cavity of the four musicians. Work was done at the Robert Schumann Institute in Dusseldorf. The electroacoustic version of this piece was made from February 1978 to March 1980.

Recording of Rodolfo Caesar's Curare II. The piece is a revision of a work begun during the course at the GRM in 1975. It was finished in Rio de Janeiro. The piece uses three families of acoustic sounds: guitar and Jew's harp being two of these. Curare is a double-purpose substance used by the Amazonian Indians for combat; it is a deadly poison, and yet it also serves as an effective hallucinogen at feasts. The double aspects, the ambiguous atmosphere of certain passages, the evidence of others, and a thousand other parallels have been suggested the title for another work baptized after being created.

Recording of Andrés Lewin Richter's Fontecilla mix II. The piece is a reduction and organization of a 90-minute piece created to be MUZAK type background music -- mainly as climate manipulation rather than a sound poem -- for Chilean painter Ernesto Fontecilla's painting exhibition at Barcelona Galeria Trece in 1977. All material is electronic in origin.

Recording of Eduardo Kusnir's "El encanto del cisne."

Recording of Jarmo Sermilä's Contemplation II for alto saxaphone and pre-recorded electronics. Premiered on 3 July 1979 at Hämeenlinna by Pekka Savijoki.

"Fantasy quintet" for piano and computer was composed in 1977-78 for pianist Dwight Peltzer, on a commission from the National Endowment for the Art. The work is cast in three movements, with cadenza-like material appearing in the middle of the first movement and near the end of the final movement. It was my intention from the beginning to compose a work that would allow the performer to play with some degree of freedom and in a vituoso style. Throughout most of the work computer is limited to four voices, each having its own speaker. The somewhat whimsical arrangement of the speakers about the piano is important to the central idea of a quintet with the piano as a concerto instrument. The "Fantasy quintet" is meant to resemble a chamber concerto in terms of its volume and its frontal stage characteristic. In at least one sense this rather traditional and perhaps heroic plan would seen to be out of step with a medium using loudspeakers, which people often view in a detached or impersonal way. Yet it was that condition which I wanted very much to investigate in the "Fantasy quintet". The work attempts to personalize the speakers, and their sounds …

This is the first in a cycle of pieces made of the same base material: samples taken from recordings made in a kneader and with a flint block.

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.