Recording of Daniel Arfib's Le souffle du doux. The gentleness is the wind, the wood, too. “Le souffle du doux” is a play on simple elements always harmonically connected, voluntarily limited to the point of view of the choice of the timbres, it is the relation between the Bottom and the Top (between the grave developing its harmonics and the acute blow), which the subject of this piece.

Recording of Daniel Arfib's Le Souffle du Doux. Le souffle du Doux is a play on simple elements always put in harmonic relation voluntarily limited from the point of view of the choice of timbres, it is the relation between the Low and the High (between the low end developing its harmonics and the high notes blow) who the subject of this piece.

Interview with Alena Mosley. Topics include the Hstory of Baytown, TX.

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 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 Sergio Barroso's Yantra IX, for saxophone and tape. "Yantra" means "cosmogram" in the ancient language of Tibet. The piece is a graphic illustration to obtain variable structures and to explore the possibilities of live and tape saxophone sounds by mixing them. This composition is part of a series of works for various instrumental combinations with and without band. It was composed between August and September 1979.

Recording of Paul Berg's Mandolin for tape. The basic idea was to distribute amplitude values using pre-established composition rules. It premiered at the Utrecht Institute of Sonology.

Recording of Andrzey Biezan's L' Épée d'un Archange.

Recording of Yayoi Bito's Grotto Murmer. "In this work, I try to express the reverberation of water dripping in the silence of a cave" (statement from Bito). The reverberation of dripping water has transplanted me into an imaginary world. This piece was created at the Studio of Gakugei University in Tokyo.

Recording of Jürgen Bräuninger's Tans-Trypticon.

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 Lelio Camilleri Quartetto for four-track tape. The piece is in three sections according to the ternary form ABA'. The sound material is composed of a series of modulated sinusoidal frequencies. In the first section, the material is used to create soundtracks that are organized with different durations in the four tracks. In the second section, the material, through transformations using several controls on the same frequency, gives rise to figurations with very variable frequency, timbre and envelope. The third section is a varied cover of the first and uses the same frequencies with different durations, timbres and envelopes.

Recording of Gene Carl's What the River Said. "This composition began as an experiment: I wanted to see what happens when 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. This guided me in creating 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." - Gene Carl, composer

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 John Anthony Celona's Moving Points. Moving points is a computer-generated composition in 4 channels. Frequency-modulated sounds and algorithms for rhythmic and envelope distribution were produced by an XPL program entitled "Hocket" written by the composer for the New England Digital Synthesizer. Intervallic-harmonic configurations result from the eventual timbres and rhythmic interplay of the hocket-like channel rotations in the program. Timbral complexes are created by multiple modulators and envelopes for each sound. The composition is entirely the result of a programmed automated process; i.e., the entry, order and arrangement of events is structurally dependent upon the program.

Recording of John Celona's Music on One Timbre. The computer-syntesized tape was produced using an organ timbre as the fundamental sound source. Microtonal variations in tuning were introduced in order to change the phase relationships within the harmonic spectrum of the massive choral aggregates. It can be discovered that interesting and unique changes in timbre result from orchestrating the harmonic spectra of a complex waveform. The organ timbre provides such a base.

Recording of John Celona's Waveforms. The source material is the Pacific Ocean recorded with a portable Stellavox while standing knee-deep in breaking waves and following their peaks and cascades with microphones. The material was then mixed in a studio according procedures derived from Fibonacci series with followed from the sequence of wave patterns on the particular day the recording was made.

Recording of Chris Chafe's "Marienbad" performed by Ann Witherall, Daniel Kobialka, and Willy Winant. The movie "Last Year at Marienbad", a 1961 French-Italian film directed by Alain Resnais from a screenplay by Alain Robbe-Grillet, influenced the composition of Chafe's "Marienbad" in several ways. The most crucial connection between the two works is the feeling of "mental time" as described by A. Robbe-Grillet in his screenplay: "...it skips certain passages, it preserves an exact record of certain 'unimportant' details, it repeats and doubles back on itself." The tape plays a role similar to the narrator named "X" in the script, somewhat omniscient but also misleading when one tries to connect events in the "plot". Text, which is spoken and whispered by the tape and trombone player, is borrowed from the distorted dialogue, which "X" has with other figures in the movie.

Interview with Wilburn L. Snyder, a resident of Baytown, Texas since approximately 1920. Topics include World War Two and the history of Baytown, TX.

Recording of Sheree Clement's Glinda Returns for 4 channel tape. Composed at the Colombia-Princeton Electronic Music Center (analog tape studio). Premiered at McMillin Theatre, Colombia University, April 1979.

Recording of Yves Daoust's Quatour. "In composing this work, I thought a lot about Beethoven's Grande Fugue, Opus 133. There is this incredible tension in writing, almost inhuman, as if Beethoven had wanted to shatter the instruments, as if he wanted to reach the limit beyond, which opens expressive areas inaccessible to acoustic instruments - if not in the dream - but that the magic and artifices of electroacoustic means can now explore. To search for inflections and articulations characteristic of the string quartet writing across all eras and give them that little push to slide into an imaginary space, transcending the physical limits of musicians related to their acoustic instruments. This is Quatuor's intention, which is an admiring homage to these performers, for whom forming a quartet is often a little like entering religion..." - Yves Daoust, composer 1st prize in the electroacoustic studio category at the 8th Bourges International Electroacoustic Music Competition, 1980 and Golden Euphony, 1993.

Recording of Yves Daoust's Quatuor.

Recording of Gábor Darvas's Reminiscences for magnetic tape. The piece is made up of eight scenes which are built of concrete sounds reminiscent of past eras separated by distinct interludes. It composed at the Electronic Studio of Hungarian Radio during November and December 1979 and was realized at the Electronic Studio of Budapest Magyar Radio.

Recording of George De Decker's Modulatud.