Recording of David Keane's Metal for tape and "synchronized slices projected up on a dance inside of a large conite elastic BAC." The piece's sound material is based on metallic qualities (hardness, cleavage, brittleness, coldness, sharpness, etc.). The slides were prepared by Trevor Moogson. The piece premiered at the Palais des beaux Arts in Brussels, Belgium.

Recording of Eugeniusz Rudnik's Moulin Diabolique" ("Devilish Mill"). The work consists of six sequence that have their own dramatic, musical, and architectural meaning independent of the piece as a whole. The piece is based on military orders in different languages, as well as the sounds emitted by human groups (soldiers), which constitute the answer itself or accompany the answer that is required. The composer processes the sounds of the orders to deepen the grotesque and lugubrious character that these orders contain.

Recording of Maggi Payne's Lunar dusk. Performance is with four speakers accompanied by abstract slides. Composed at the Center for Contemporary Music at Mills College.

Recording of Arsène Souffriau's Fusar 3 for four mixed voices, four percussionist and two synthesizers. This piece is aleatoric music and is a collective improvisation by the performers. This recording of the collective improvisation took place on Thursday, September 1979 at around midnight. The interpreters were Viollette Beaujeant, Madeleine Fabrice, André Van Belle, and Arsène Souffriau. During the recording, each performer spoke, sang and manipulated various percussion instruments. Then, a selection was made and various sequences retained by Souffriau were reworked electro-acoustically. He then manipulated these sequences in order to create the stereophonic version presented here.

Recording of Charles Norman Mason's Pendulus for tape.

Recording of Richard Zvonar's 3 for 5 for percussion, performed by Daryl Pratt. The piece is divided into three movements, with a different set of instruments for each. These are set up in three locations, which form an arc left to right across the performance area. Four playback speakers are situated beside and between the three playing locations. The tape sounds are entirely derived from recorded sounds of the percussion instruments. Throughout the piece, the live and recorded sounds continuously diverge as the piece progresses until at the end, the original sounds have been greatly expanded and enriched through speed transposition, mixing, filtering, etc.

Recording of Klaus Röder's Mr Frankenstein's Babies for tape. The sound material consists only of voice sounds recorded by Röder himself. The sounds were worked out in an envelope shape and then copies upon the other so that there was a "chorus" sound.

Recording of Michel Lontin's A bientôt elfes, trolls et lutins.

Recording of Dexter Morrill's Six dark questions performed by Neva Pilgrim, soprano. The piece is designed for soprano and a single electronic speaker. It is a voice drama in which the questions form an inquiry into the structure of the personality. At the outset of the piece, both singer and electronic device are defined in lifeless, mechanical terms; but as the questions are put forward one by one, more and more is revealed about the well hidden emotions in the individual. At first, the singer is unwilling to play the question and answer game, and even when she finally begins to respond, her answers are stock cliches. However, she quickly finds that when she gives a superficial or false response, the speaker falls silent. The quality and weight of this silence grows in meaning through the piece. When, on the other hand, she reveals herself, the speaker joins in accompaniment of increasing complexity and intensity after the first tentative beginnings. The questions are "dark" for two reasons. Firstly, they are suggestive and symbolic rather than open and direct. Secondly, they raise increasingly serious human problems. The first two animal questions, the singer's associations for cats and horses are relatively simple. …

Recording of Jean Piché's Ange for tape or radio performance. It is a timbral work in which the main goal is the total acoustic mixing of natural and synthetic sound material. In addition to the synthetic sounds that are created through a digital synthesizer, four voices - two men, two women - are introduced in the final mix and are hardly distinguishable from the synthetic sounds.

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 Ronald Perera's Tolling performed by Kenneth Fearn and Monica Jakuc.

Recording of Hal Freedman's Short Circuit performed by Gerry Hemingway and Freedman himself. It is a duo piece, in which the instruments and timbres constantly intact in a highly structured but not inflexible manner. Many of the actual notes and rhythms were improvised, but within strict structural confines that often define what is to be played more naturally and precisely than a full score could accomplish.

Recording of Krysztof Knittel and Andrzej Biezan's Polygamy for tape. The sound material was based on improvised playing on cans by Biezan and Knittel. The piece was realizes in the Experimental Studio of Polish Radio in 1979. It's premiere performance was at the Technische Universitat in West Berlin on February 1979.

Recording of Dimitrios Iatropoulos's "Le soi, le choix et les autres" ("The self, the choice and the others"), five songs composed on the voice of Tibby Sachet. Iatropoulos calls this work a "composition psychoacoustique" ("psychoacoustic composition"). It is a study on the expansion and travesty of the voice that corresponds to the continual contradiction between the self and the choice of the woman. The choices the woman is faced with it that of active/passive, dad/mom, woman/girl, self/others. It is a representation of average female forces in a medium social environment in a language that is not too formal and not too casual. The intensity of the sentences are amplified by the montage on the magnetic tape which reflects the speed of the woman's thoughts.

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 Xavier Maristany's East Coker.

Recording of Michel Longtin's "De cristal, d'angoisse et de montagne" ("The crystal, the anxiety and the mountain").

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 Elżbieta Sikora's "Rapsodie pour la mort d'une république" ("Rhapsody for the Death of a Republic"). The world premiere was during a fragment of the ballet "Agranissement" at the Warsaw Chamber Opera in 1979.

Recording of Åke Parmerud's "Time's imaginary eye" for mezzo-soprano, tape and slide show controlled by computer. The mezzo-soprano part was composed from Swedish singer Kerstin Stahl. The piece was first performed at the Stockholm International Electronic Music Festival on September 3, 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 Hans Poort's "The medium is the matter." The music is made of repeated results of electronic sound circuits, presented as dynamic musical processes. By teaching on tape, the material aspect of the "here and now" of poetry, both music and words are emphasized. Poort attempted to keep the time and space of the present sound - poetry and music - by leaving both of them autonomous.

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.