Recording of Ricardo Mandolini's Fabulas. It is a piece that creates a soundscape of fantasy, reminiscent of stories from childhood. Uses electronic and instrumental sound material.

Recording of Klaus Röder's Klangbild. The basis of this piece was a guitar improvisation. The tape with the recorded guitar sounds was cut at suitable points. The cut pieces were sorted and classified. So there were several small musical motifs which were instrumented afterwards by electronic means.

Recording of Martin Brinkerhoff's Jabara. Sound material consists of percussion sounds that have been manipulated by concrete methods: pitch and duration transposition, inversion, and mixing. The work is dedicated to percussionist Martin Jabara, who provided the basic sounds. The piece was realized at the Center for Music Experiment at California San Diego University.

Recording of Denis Smalley's The pulses of time. The piece reflects the varied behavior of pulses: the regular pulses of meter, the much slower pulses which pace sections of music, and pulses which form the interior character of sounds - the accelerating pulses of a bouncing sound, and the fast pulses creating the "grain" in sound textures. The different atmospheres in the work are generated by the major sound sources: the electronic bounced family of sounds, metallic harmonies which expand the resonances of dramatic gong-like attacks, noise contours, drums and percussion both real and synthetic, and the clavichord which provides a rich reservoir of sounds - deep clusters, sighing pitches, resonances truck on the soundboard, strings plucked and stroked. The clavichord sounds remain raw and untreated.

Recording of David Evan Jones's "Pashanti (Les 9 Milliards de Noms de Dieu)." "Pashanti" is a Sanskrit word that refers to the level of thought that immediately predicts the recognition of speech as sound. This composition uses a hybrid computer musical system to filter vowel sound sources and vowel-like sounds. The text consists of the vowels i / a / u / e / i in sequence with particular transition velocities form the word "Yaweh" (the name of the Hebrew god). This series of vowels is continuously permuted to form the text of Pashanti through the composition.

Recording of Jürgen Bräuninger's Tans-Trypticon.

Recording of David de Gandarias's "Juego de magos y gonilas" ("Game of Magicians and Gorillas"). Uses percussion instruments as sources of sound.

Recording of Máté Victor's Version n° 2. It was realized at the Studio of Radio in Budapest. The piece is constructed in five movements - movements 1, 3, and 5 contain the same material. It was composed at the Electronic Studio of Mayar Radio in Budapest.

Recording of Jonty Harrison's A Vent for oboe and tape, performed by Robin Canter, oboe. It is more accurately described as a tape piece with oboe since the tape carries the greater part of the musical argument and is never merely a background for an oboe solo. The necessity of breathing permeates the work.

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 D. Gareth Loy's Nekyia. The title refers to the eleventh chapter of Homer's The Odyssey in which Odysseus and his men have just escaped the enchantment of Circle's Island and are about to experience the demonic confrontation of the souls from Hades, in order to consult with tierces for how to return to Ithaca. The music, though not narrative, uses images of enchantment and demonic confrontation to explore the existential position of the hero to evoke the same moods in the audience.

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 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 Bohdan Mazurek's "Matin, matinée, soirée, nuit." It is a work for children who conform to the adopted principles which should be of aesthetic values to initiate the broader sense of the term music. Mazurek introduced program elements to the music in order to train the young listener to attain the sense of psychological concentration needed for the perception of music. The musical layer lacks a homogeneous style, which results from the preconceived idea the diversity of functions that must be fulfilled by music ranging from an autonomous role to mere illustration. The sound material ranges from instrumental sounds (both natural and transformed), human voice, and sounds of electronic origin in which often by their character recall birds singing, frogs croaking, and instruments playing. The piece, which is in four distinct sections, was commissioned by the Redaction of Children's Programs of Polish Broadcasting and written in November 1979 at the Experimental Studio.

Recording of Joaquin Orellana's "Rupestre en el futuro" for tape. Extra-musically, the piece is a "testimony of place" in a surrealist picture of a social situation, namely, the development of humans. The beginning of the piece uses phonemes in indigenous languages (Quiché, Tzutujil) and special instruments made by the composer to simulate the sounds of "a supposed primitive man."

Recording of Bohdan Mazurek's Petite Symphonie électronique. The piece is divided into three parts: the Introduction and Allegro, Scherzo, and a Fugatto that is integrated at the beginning of the Finale. It was realizes at the Polish Radio Experimental Studio in Warsaw, Poland.

Recording of Eugeniusz Rudnik's Nous.

Recording of Arrigo Lora-Totino's Trio Prosodico II. Poetry is spoken by Lora-Totino. The music of this piece is found in the "natural melody" of the diction and language.

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 Beatriz Ferreyra's "Echos" with vocals by Mercedes Cornu. The piece was made from the "destructuration" of four Latin American songs: two Argentinian and two Brazilian. Cornu uses a variety of vocal sounds (long and short sounds, breaths, coughs, etc.).

Recording of Peter Tod Lewis's Gestes III : douceurs.

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 Max E. Keller's Hymnen ("Hymns"). This is the Radio Version of the piece which was broadcasted in 1979. This piece confronts the authentic account of a Chilean's experience of torture by the Chilean fascists by means of a collage of national anthems. Hymns and anthems from countries that directly supported the fascist coup (or indirectly benefited from it) are used as base material. At first, only fragments of hymns are presented, then they are processed as a whole, and finally they are put together into a new anthem. This demonstrates their interchangeability in their music and lyrics (therefore, they are used without text). The idealistic glorifications tilt in the face of reality in stark mockery. This is further articulated by the fact that between the individual texts of the collage, the Chilean hymn sings and unprocessed re-sounds. The chivalric song of the French Revolution is the cipher and historical source of all the promises of freedom, equality and fraternity that the hymns give, but history has not fulfilled to this day.

Recording of Gabriel Poulard's Textures Bivox for tape. The piece was made without a mixer from two revox tap recorders.