Recording of Gottfried Martin's November setting.

Recording of Loretta Jankowski's Strephanade. The piece makes extensive use of voltage-controlled equipment. It was entirely electronically generated and produced. Strephanade was realized at the Electronic Music Studio at the University of Michigan.

Recording of Barton MacLean's Genesis.

Recording of Ton Bruynèl's Soft Song.

Recording of Peter Kolman's Poliritmica. The framework of the work - the beginning and the end - form multi-layered rhythmic structures that complement each other to produce a regular pulsating movement. The whole composition represents a correlation between rhythmically regular, rhythmically irregular and rhythmically not articulated (thus continuously fluid) structures.

Recording of Denis Lorrain's Générique (Σ)

Recording of Jonathan Kramer's Renascence. This piece uses clarinet, tape delay system, and mixer to create a continuous melody with interspersed counter-melodies. The texture eventually becomes so dense that individual lines cannot be distinguished. The title refers to both a poem of the same title by Edna St. Vincent Millay and the rebirth of continuity from fragmentation within the piece.

Recording of Pierre Bernard's Piano d'ombres

Recording of James Dashow's Mappings. This piece is in three large sections, each of which explores a particular kind of texture by developing the composition or structural possibilities implied in the timbral relationships between the cello and the electronic sounds. At the same time, each section contains forward and/or backward references to later/earlier material. In the third section, the cello/tape integration is brought to its maximum by turning the solo instrument into what might be called a “prepared cello,” using paper clips to resemble an electronic ring modulation.

Recording of Miklós Maros's Movements

Recording of Peter Tod Lewis's Gestes II.

Recording of Bengt Hambræus's Tides

Recording of Krysztof Knittel's The Conqueror Worm. The music structure of this composition depends on the word structure of the poem of the same title written by Edgar Allan Poe. The sound material is based on electronic sounds as well as on the violin and trombone sounds transformed electronically and recorded by Weronika Szrajber-Knittel and Stanislaw Pierozek. The work was realized at the Experimental Studio of Polish Radio in collaboration with Barbara Okon in 1974 and premiered at the Warsaw Young Festival in Stodola Student Club in 1976 (March 18th). The version presented now was made on the basis of quadraphonic recording realized in 1976.

Recording of Curtis Roads's Mass colligation 2

Recording of Stephen Montague's Strummin'. This piece is based on a single chord which is pre-set by use of rubber wedges to depress the keys and evoked by a gentle sweeping of the piano strings with the right and left hands. The electronic sound grows from the acoustic chord, sustaining and gently transforming it.

Recording of John Rogers's Computer Fantasy. This work uses rotational arrays to determine the vertical pitch structures. It is unique in using “controlled random” melodic motion between array elements. The sonic surface of the piece is characterized by a great use of variable digital band pass filters.

Recording of Lily Greenham's Relativity

Recording of Joseph Paul Taylor's The loud piece

Recording of Joaquin Orellana's Cantata dialetica.

Recording of Dominique Guiot's L'Oiseau de paradis

Recording of Carl Stone's Ryoo

Recording of Heinig Landkammer's Regen.

Recording of Tamas Ungvary's Traum des Einsamen

Recording of Leif Brush's Intercepted Composition