Recording of Ricardo Mandolini's El cuaderno del alquimista. This work utilizes the human voice in several ways as well as pauses. These pauses act more as a way to articulate than to separate the various events. This piece is originally stereophonic and creates a line of composition close to program music.

Akha songs and narratives. Àbɔ́qɔ: sjhá daŋ daŋ ə, làq xhö́ thó ə Maeby 12/8-79

Akha songs and narratives. Continued from Side A. Àbɔ́qɔ: sjhá daŋ daŋ ə, làq xhö́ thó ə Maeby 12/8-79

Recording of Alcides Lanza's Ekphonesis V. For actress-singer, lights, and electronic music. This work is rooted in the composer's continuing interest with "memories". This piece explores the "library" of memories, reflections, thoughts, and ideas, supposedly encountered if the soloist could enter the composer's brain. During this "tour of the brain," the "tourist" is confronted with the recollections of the composer, plus her own memories.

Recording of Guido Baggiani's Senza Voci 2. This work is a piece in three parts. From a base material consisting of four sine waves, three groups of sine waves were derived. The frequency spectrum results from a process of amplitude modulation. There are two different levels of the same process. First level: frequencies belonging to the same group modulate each other. Such reports generate, for each group, four different "Group States". Second level: frequencies belonging to one group modulate another group. This is how the four groups relate to each other.

Recording of Rolf Enstrom's Directions. For computer and electronic sound. Most of the sound material was produced at EMS' electroacoustic music studio as well as its analog studio. Following the composers instructions, the computer gives some musical objects, to the performer. That are needed and that the composer or creator can work on in the analog studio. Another objective was to work in an instrumental way with electronic material.

Audio cassette from The Black Academy of Arts and Letters recorded during the 1st "Medal of Merit" Annual Awards Banquet for the Junior Black Academy of Arts and Letters held on June 30th, 1979. The tape includes two tracks of audio that are generally noisy and intelligible. Track 1 covers the awards banquet speakers and track 2 a performance by Helen Monday of "My Living Shall Not Be in Vein".

Audio cassette from The Black Academy of Arts and Letters recorded during a book party and associated performance. Track one records the performers and the second the book talk with people talking indistinctly.

Audio cassette from The Black Academy of Arts and Letters recorded during a book party and associated performance. The tape has one track that includes semi-clear dialogue that concludes with a choir singing.

Recording of Anthony Holland's Sister kate, S. HZ. Originally written for clarinettist Jeffrey C. West, this work is intended as an abstrack work for clarinet and tape. The work recounts some of the sounds heard by two young "bohemian" musicians on their first trip to Paris, France around 1978. It also references a missed appointment with Nadia Boulanger.

Recording of Gene Carl's What the River Said. This composition is based on the sound of a piano string (played by an impulse generator through an electro magnet) is rotated around 4 loudspeakers. After many listenings, the movements of the sounds took on musical forms. The composer created both smallest and largest structures on which the piece is based. Through extensive tape manipulations a spectrum of sounds evolved from the first sound sources. The title comes from the poem, " the Wasteland ", by T.S. Eliot. In this poem, the river is an important symbol, carrying the signs and debris of civilization along its route. In the same manner the movement of a natural-sound (piano strings) carries the musical message and form with it. In this way nature speaks to us.

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 Denis Smalley's The Pulses of Time. The Pulses of Time reflect 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, for example. 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 Arrigo Lora-Totino's Trio Prosodico. This work is modeled after a 'da camera' musical. There is no instrumental music. There is the natural melody of the diction, in three contemporary voices. All three voices are the composer.

Recording of Shin'ichi Morita's Convergence and Divergence. This piece was made using the sound of spinning lens. The spinning lens gradually converges on account of gravitation. This sound makes rhythm of natural acceleration. And by reversion of tape, the convergence changes to divergence.

Recording of Usko Merilainen's Ku-Gu-Ku.

Recording of Jozef Malovec's B-A-C-H. The following materials are used in this composition: with a determined certain tone pitch such as succession of tones B-A-C-H at different pitches and transformations, two citations from the work of J. S. Bach realized on the synthesizer ARP plus the play-back of alto recorder/cantus firmus of the second--complete citation, slowed formants of the vowels in the introduction, with undetermined tone pitch such as noises and short impulsed formations at a different speed of the tape.

Recording of Roland Willmann's Salve Regina. The Gregorian chorale Salve Regina was the point of departure of this work in that the composer tried to alter the original form but followed and supported it in a formal and expressive way using electronic sounds. The usage of the initial motif to the final corresponds to the cyclical form of the same chorale. The repetitive formula mentioned in the chorale is another structural element that were created in 3 echo recordings.

Recording of Daniel Vermette's Le Lac.

Audio recording of a live performance by Steven Fromholz. Tracklist: 1. Tequila. 2. Isla Mujeres. 3. Dear Darcy. 4. Dimmy Deans Poor Puke Sauce Linkages/Redneck Mother. 5. Rest Area Waltz. 6. Aunt Minnie and Bears. 7. She's A Lady. 8. Late Night Neon Shadows. 9. Jane's House.

Recording of Carl Stone's Unthaitled.

Recording of Takehito Shimazu's Beginning of the Spring.

Recording of David Kenneth Mason's Picnic Four.

Recording of Takehito Shimazu's Apostagie. This work is only composed with sine waves. This is one of Shimazu's conclusions for the pursuit of topological form. The piece was created at the Berlin Studio (FRG).