Recording of Jonty Harrison's Pair/Impair. Pair (even): the balance between opposites (left/right, high/low, dry/resonant); equilibrium; the concept of stasis. Impair (odd): the contradictions of Pair; the element of imbalance, which carries us out of stasis; the dynamic concept.

Recording of Bengt Emil Johnson's Vittringar. “Time is our element. We live in time, with time. The leaves fall in autumn and join what has been – the stratum between life and death where breakdown and rebirth lie very close to one another… As in nature, as well as in that part of nature we call “art.” In the time-flow we call ‘now’ you and I stand – sensing the presence of what is new, emergent – and taking part, within ourselves, in the continuing process in which everything is breaking down. In Swedish, we have a word that has association with both these experiences that sometimes approach each other very closely. It is Vittring (scent/wither).” – Bengt Emil Johnson, composer Göran Rydberg transformed the rhythms of language, using different percussion instruments. Eugeniusz Rudnik gave it a careful and sensitive interpretation in the Polish Radio Experimental Studio.

Recording of Frank Michael Beyer's Schwebungen. The interference of sounds produces gentle and undulating movements that do not escape attentive hearing. In the moments of coincidence (nodes) of this interference, a "bell" sound pushes the beginning of a new color.

Recording of John Winiarz's Night-Night Flower. This title refers to a desert plant called "Night-blooming cereus," a plant that blooms in the dark, the flower dying at the first light of dawn. It is not, however, a program music, but rather an evocation of the atmosphere stemming from electronic sources, natural and instrumental, processed mainly by filtering and modulation rings. The tape was made at the Electronic Music Studio of McGill University in Montreal.

Recording of Michael McNabb's Dreamsong. It features a mixture of synthesized, digitally recorded and digitally processed sounds. These sound, along with the precision control of digital processing and mixing, result in an expressive sonic continuum ranging from unaltered real sounds to those that are totally imaginary. The melodic and harmonic structure provides the framework for continuous timbral and textural transformations. The work was done using digital synthesis, processing, and sound editing programs, programs developed at the Center for Computer Research in Music and Acoustic at Stanford University, and implemented on a PDF-10 computer. Many of the techniques that made the work possible were developed by the composer. The soprano is Marilyn Barber. It was one of six U.S. national winners in the 1978 National Composers Competition, sponsored by the League of Composers - International Society for Contemporary Music.

Recording of Åke Parmerud's Närheter. The title of the piece is a plural form of the word "closeness," which is rather untranslatable. The piece is a text-sound-composition, and was commissioned by the Swedish Radio. A large part of the piece is inspired by various sleep and dream manifestations. The text was written by the Swedish author Ella Hillbäck. Throughout the piece, even without knowing the meaning of the words, I believe one can feel the different "scenes" taking place. The first part of the piece is sort of an "ultimate story of creation,” at the same time implying the first phase of sleeping in a state of half consciousness. The following part of the piece is "a vision of a declining culture,” looked upon from a series of different angles. The end of this piece is built on the Swedish word for dance, which keeps falling apart. This second part also reflects the state of deep sleep where each dream becomes a part of the "collective" dream consisting of different scenes and different levels of "reality.” These "scenes and levels" are in an extrapolated sense, taking place and existing simultaneously at the same place and the same time. The level …

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 Arthur Kreiger's Still Life. "Still Life" was realized at the Columbia-Princeton Electronic Music Center where it was completed in the summer of 1978. Considerable care has gone into the construction of instrument designs and into more general concerns for phrase, color, and texture. The work also explores extremes in dynamic levels. The title, Still Life, was suggested from an extended quiet passage whose character is predominantly one of stasis.

Recording of Michael Hinton's Her Quiet Witchery. "Her Quiet Witchery" was made at EMS in 1978, with financial support from Swedish Radio. The original material is computer-generated, using the composer's own music programming system INT6. This material has since been considerably reworked with analogue equipment.

Recording of Vladan Radovanović's Audiospacial. The electronic material of the piece consists of real or quasi-simulated vocal or instrumental sounds. The vocal material, on the other hand, sometimes tends towards the electronic sound. The electronic part was realized by combining the two processes. For some sections, the score was established and carried out strictly. Others were improvised using the digital memory of the sequencer. If the electronic part is frozen by the choice of the sound events and their recording, the part reserved for the choir remains open in some zones because the interpreters can decide the rhythm and the height. In its original form, the work envisages a performance space including concert hall, communicating spaces on the same level, and possibly rooms above and below the hall. Both the electronic sounds are treated as sometimes mobile, sometimes stationary sound sources. The choir is required to move about the performance space according to trajectories coordinated with the time evolution of the score. A version for tape alone (and the corresponding score) has also been made. The electronic material is built up of sounds that range from autochthonous to quasi-simulation of instruments and voices. On the other hand, the vocal material …

Recording of László Király's Adieu à Terez. “The sound material of the composition is a female voice modulated by various electronic means. The composition consists of 3 parts: 1) The enchantment of Terez, 2) The dream at dawn 3) Farewell The first part is based solely on the modulation of the voice. The beginning of the second part consists of an indiscernible speech and vocal music, which becomes more and more discernible. The third part remains on the contrast of voice and vocal music. For me, the essential was the contrast and the correspondence and the emotional effect the different timbres of sound.” - László Király, composer

This is the recording of three urban sound environments originally intended for radio broadcasting, as part of programs devoted to large provincial cities. The first of these sound photographs (the bell tower of St Christophe de Tourcoins church) is deliberately missed (used tape, microphone tests, recording speed changes). The second (the basin of St Nazaire) is "successful", but it includes two characters in the foreground and in the background, which cause musical events from objects arranged on the platform (anchors, chains, cans, iron bars ). The third (the funicular of Fournières in Lyon) is rigged (hanging on some natural pits of the band) in a concern nevertheless of minimum use manipulations.

Recording of Satoshi Sumitani's Mirror Concave.

Recording of Kiyotomi Yoshizaki's Son, Lumière et Temps

Recording of Rolf Enstrom's Sequence in Blue. The Swedish Radio corporation made the piece on request. The first part of the piece was originally made to fit a sequence of blue infrared pictures (dark blue night-images, hence the name). The composer continued working with the music in order to give it a life of its own without pictures). The different parts are visions of different "imaginary landscapes" or moods.

Recording of Antero Honkanen's Tapporaha.

Recording of Alcides Lanza's Out Off... A solo tape piece realized at the EMS, McGill University. It is a re-elaboration of unused portions of penetrations I, The Cement Jungle Suite, rehearsal sounds from eidesis III and electronic sounds created with the Moog and Synthi AKS synthesizers. The piece refers to primitive forces at play, from the jungle sounds to the city jungle; from the primeval memories to the magnetic forces at play in the galaxies. All the 'human' sounds heard are below the level of semantic comprehensibility. Realised at the composer's studio SHELAN and McGill University EMS. Montreal, QC, Canada.

Recording of Barry Truax's Androgyny, a spatial environment with four computer-synthesized soundtracks. The sound construction is based on ideas about an acoustic polarity, namely "harmonic" and "inharmonic," or alternatively, "consonance" and "dissonance." These concepts are not opposed, but instead, are related in ways that show that a continuum exists between them, such as in the middle of the piece when harmonic timbres slowly "pull apart" and become increasingly dissonant at the peak intensity of the work. At that point a deep harmonic 60 Hz drone enters, similar to the opening section, but now reinforced an octave lower, and leads the piece through to a peaceful conclusion. High above the drone are heard inharmonic bell-like timbres which are tuned to the same fundamental pitch as the harmonic drone, a technique used throughout the work with deeper bells. The work is designed to sound different spatially when heard on headphones. Through the use of small binaural time delays, instead of intensity differences, the sounds are localized outside the head when heard through headphones. Various spatial movements can also be detected, such as the circular movement of the drones in the last section of the piece. The work was realized with the composer's …

Recording of Ake Parmerud's Narheter. The title of the piece is a plural form of the word "closeness" which is rather untranslatable. The piece is a text-sound-composition and was commissioned by the Sverige Radio. A large part of the piece is mainly derived from various sleeping and dreaming events. The text is written by the Swedish author Ella Hillbeck, The first part of the piece is an "Ultimate story of Creation", at the same time implying the first phase of sleeping "half-conscious". The following parts of the piece is "a vision of a declining culture", looked upon from as series of different angles. The final of this piece is built on the Swedish word for dance, which keeps falling apart. This second part also reflects the state of deep sleep where the individual dreaming becomes a part of the "collective" dreaming consisting of different scenes and different levels of "reality". These "scenes and levels" are in an extrapolated sense, taking place and existing simultaneously at the same place and the same time.

Recording of Hildegard Westerkamp's Fanstasie for Horns. The sound sources for this piece are taken from the acoustic environment. They are Canadian trainhorns, foghorns from both the Pacific and Atlantic coasts of Canada, factory and boat horns from Vancouver, and surroundings-horns that Canadians hear in daily life. Additional sound sources are an alphorn and a creek. Most of the material is taken from the World Soundscape Project's environmental tape collection at Simon Fraser University in Vancouver, B.C.; some of it was recorded by the composer.

Recording of Reed Holmes's Wood on Wood on Water.

Recording of Sandra Tjepkema's Aubade.

Recording of Milos Petrovic's Study.

Recording of Michel Redolfi's Lune et Triangle. Lune et Triangle is the last part of a series of works composed with computer means. A digital synthesizer which allowed the synth to integrate all the physical, temporal and spatial parameters of the work, no studio manipulation having been requested later on this synthesis.