Recording of Francis Dhomont's "Transits élémentaires" ("Elementary Transits"). The piece is a question of a crossing that could be compared - very modestly - to that of Dante's Virgil. From fire through air, from central magma to the high layers of the atmosphere, the traveler crosses through then Alice's looking glass. The perception then becomes mental. At the formal level, the piece has five concave movements, all of unequal duration articulated by a constantly varied pattern, a sort of hinge. The piece was realized in Dhomont's personal studio as well of the GMEM (Centre National de Création Musicale) in Marseille for the synthesizer sound materials.

Recording of Joaquín Orellana's "Imagones d'une histoire en redondo (imposible a la equis)" for tape.

Recording of Jonty Harrison's Eq for live saxophone and tape. It is the third in a series of works that features saxophones. This piece like the others, is also concerned with 'cu' (here made manifest by the interaction of live saxophone and recorded sounds on tape), 'Q' (a filter is used to sweet the producing melodic material out of static harmony) and spatial articulation. 'EQ' is studio slang for 'equalization - a more sophisticated version of the treble and bass controls on a domestic hi-fi system and a fundamental device for sound modification in the studio. EQ was commissioned by John Harle with funds made available by the arts Council of Great Britain. It received it's first performance in the Purcell Room, London in November 1980. The tape was produced in the Electronic Music Studios of the University of New York and the City University, London.

Recording of Costin Cazaban's Naturalia for piano and tape. Circular games on the harmonic sounds of the totally linear solo piano part. The direction of the music shows the process of disintegration on the environment. The idea for the work was aroused by the myth of the Sister of Albert Camus.

Recording of David Porter's Walking Bells for tape. The piece is a tour through an environmental/concrete landscape. It is another variation on the "cumulative form." This is the second in a series of four tape pieces. As with all these pieces, this piece comments on political and compositional methods and devices. In this instance, the piece makes reference to another composer whose style is borrowed. Other than that, it is pure experience. This piece should be listened to with speakers placed well apart and volume up the the highest comfortable level at the last two minutes of the piece.

Recording of Teresa Rampazzi's Requiem per amanda. Key musical features include two female voices in an echoing pattern and synthesized sounds.

Recording of Pierre Barbaud's Inspiravit Aeolus. During the months of July - August 1979, Barbaud did his holiday homework on the island of Panarea, which is part of the eight Aeolian Islands in southern Italy. The title refers to the character Aeolus from Homer's Odyssey who is the Keeper of the Winds. In the hours of siesta, he blows with great gentleness on the bougainvillea; this is the inspiration for all of the algorithms in the piece. After returning to Paris, Barbaud asked Frank Brown and Geneviève Klein to provide the sound sampling program in data that did not provoke violent attacks. A poor telephone transmission during a first experiment, was the cause of a crash that did not lack beauty. The following communications were normal, and everything from those transmissions were kept in the piece.

Recording of Jonathan Berger's "A pocketful of posies." The title refers to the Black Death of the 14th century, a time when people dealt with impending doom in much the same way as people do today. It was premiered at Stanford University in March 1984.

Recording of Kim Dyett's Refraction for tape. The piece is composed from words that are twisted and transformed moving from meaning to sound images.. The work was inspired from poems by E. E. Cummings.

Recording of Lelio Camilleri's Overfall. Transformed piano sounds and sound structures realized by means of voltage control make up the sound material of the piece.

Recording of Fernando Condon-Garcia's Suiana Wanka for tape. This work collects and develops independently the materials of a music scene for Peter Shafer work "The Royal Hunt of the Sun". It is based exclusively on sound recordings of various Latin American instruments such as the Indian flute, pincuyos, sicus, tarkas, mohecenos, various kinds of percussion, etc., to which are added, during some passages, instruments from European culture (organ, flute, bass). The original sound was made in a professional studio, and the final realization was made in ELAC, a small Montevideo studio, with the technical assistance of Carlos Da Silveira.

Recording of Frank Royon Le Mée's "Troisième doxologie Saint Sébastien" ("Third Doxology Saint Sebastian"). The piece is an electronic postlude in three stanzas.

Recording of Jarmo Sermilä's "St Henry's Tribe Memorial Anthem" for tape.

Recording of Charles Clapaud's Mouvements et formes.

Recording of Ricardo Mandolini's Poema Reiterado using the voice of Leonardo Martinez reciting Mandolini's own poem "Palabras" in an electro-acoustic composition. All sound material are disengaged from the speech of the spoken text (Sprachkomposition) which embodies the idea of the ancient synthesis between text and music. Realized at the Studio of the Musikhochschule in Cologne, Germany in 1983.

Recording of Bohdan Mazurek's 6 electronic preludes for tape.

Recording of Joost Van de Goor's De Inwerking ("Influence"), which refers to a sign from the book of changes, I Ching. It refers specifically to the 31st hexagram which is based on the image of water, a small like on a mountain. In the piece, the clarinet (water) is looking for contact with the soundtracks (firm and unmoveable). The soundtracks were made by manipulating recorded clarinet sounds and composed using chance operations (using dice and coins). It was recorded in the electronic studio of the "Brabants Conservatorium" in Tilburg, The Netherlands.

Recording of Andrew Lewis's Logos. "Acousmatic" music for fixed medium (stereo).

Recording of Jaap Vink's Neap Tide. Neap Tide is the last part of the bigger work "Tide" and can be considered an independent composition. Tide is based on Vink's preference for recursive processes, which stemmed from the fact that the material is directly accessible to the composer who can therefore stimulate the expressivity of the sound. While sounding complex, recursive sound means sound and its derivative can be, if desired, recorded on top of each other in one action so that the sound structure becomes more or less closed. This depends on the external intervention of the composer. The derived sounds provide the coloring. This coloration can happen quickly or slowly. For "Tide," Vink chose the latter because the tide is also a relatively slow process which requires about 6.5 hours for completion. In order not to try the listener's patience too much, "Tide" is about 45 minutes long, "Neap Tide" being the 20 minute ending section of the work.

Recording of Roger Doyle's Switch performed by Olwen Fouere, actress with the Fairlight Computer Music Instrument.

Recording of Bernard Gagnon's "Gwendolyne descendue !" for tape. Gwendolyne is an underground comic character from the 1940s. Read first glance, her adventures only seem to be excuses for exploring the possibilities of bondage, but the unity of style pervading even the smallest symbols and the obstinate repetition within the strict limits of a closed world gives them an esoteric aspect that inspired the piece. It tells the story of the forced disappearance of the heroine. The piece is dedicated the Gwendolyn's creator, John Willie.

Recording of Sten Hanson's 96. "According to Amnesty International, there are 96 countries in the world that have political prisoners. In most of these countries, there is clearly physical or mental torture that is punishable by law and unlawful killings." Sound material includes sounds of doors shutting, locks locking, bells, ringing, etc.

Recording of Martin Rudolf Schwarzenlander-Fischer's "Chacoel (Musik für den frühen Abend)" for tape.

Recording of Pekka Sirén's "The genesis of Kazan" for voice and tape. The composition is based on the Finnish text of an old poem of the Mordovian people. It is a mythological folk tale from that culture. After encountering the tapestry collection of A. O. Heikel which portrayed the Cheremis and Mordove peoples, Sirén was inspired to think of a new musical notation and to set one of these tapestries to music. He chose the poem "The Founding of Kazan" from the "Heimokanne" collection published in 1930 and translated by Otto Manninen as the basis of the composition. Sirén's goal was to depict not only the cultural history but also to research the dramatic expression of the actor. who plays four characters: the narrator, Marja, the father, and the mother. The differentiation of these characters is in the form of sound material that is subject to many stages of modifications. The piece was realized and recorded at the Experimental Studio of Helsinki Radio.