Recording of Ricardo Mandolini's Estallido Breve. The piece tries to develop in a progressive yet minimalistic way the repetition of a percussion sound, of which the tiniest variations are in the first few milliseconds of the attack. This attack always follows a long extinction, which is also affected by minute changes. The addition of a second kind of sound material, a perpetual crescendo/accelerando, contributes to the accentuation of the dramatic character of this ostinato. The ostinato ends in an explosive short resolution, which explains the title chosen for this piece. The piece was composed in 1980 at the Institute for Systematic Musicology in Ghent, Belgium. It is stereophonic. The piece also existed as a mixed version (Estallido Breve II) for electroacoustic tape and bass clarinet.

Recordings of Jeffery Bass's Hadron collisions for tape.

Recording of Robin Julian Heifetz's The harvest of sorrow and loneliness. This work is elegiac in character and is best summed up in the following poetic passage from Thoms Wolfe's "From Death to Morning": "There has been... loneliness enough... to crust (my) lips with its hard and acrid texte of desolation... (For I had) heard the... music... crying and singing a strange and bitter prophecy of love and death... (and I had seen) my brother... die in the dark in the dark mid-watches of the night, and I (had) know... the figure of... Death when he had come..." The piece was realized during a period of the composer's depression and proved to be a cathartic experience for him.

Recording of Mayako Kubo's Play bach for eight channel tape. Play Bach is mainly based on two elements: first, there is no fixed form and no fixed duration because the composition consists in a mobile-system; second, the sound material uses only the tones B (Si-flat), A (La), C (Do), and H (Si) in different octaves performed by three instruments and with the letters B, A, C, and H spoken with human voice. Because the eight tracks are combined using a mobile system, each performance presents different combinations and thus a different performance each time.

Recording of Jacqueline Ozanne's "Son recif" for voice and tape. This piece comes from a work on the myth of the sirens and includes texts written on this theme in their original languages. As the singer/speaker repeats the story, it is crossed by the sounds of these languages, by songs that cannot continue, as well as successive states of emotion. The electroacoustic tape plays a constant dramatic role: sometimes worrisome, sometimes reassuring, sometimes enveloping presences, it continually influences the interpreter in their vocal and dramatic production. The performance includes a video projection.

Recording of Trevor Wishart's Les Accords d'Helsinki for tape.

Recordings of Marek Choloniewski's "Rag, Rag, Rag" (includes five recordings, the last of which is a reduction). The piece is a transcription of the constructions of instrumental music with added electronic improvisation. Traditions of contemporary music meet those of jazz and rock, giving the piece a three part structure.

Recording of Jon Appleton's Sashasonjon for synthesizer. In memorium Alexander Walden (26 December 1896-4 February 1981).

Recording of Ricardo Mandolini's "Juego de Marionetas" ("Puppet play"). The piece is a descriptive approach to the world of small percussion using recorded percussion sounds that have been electronically processed. The fundamental characteristic of the piece is the rigorous eceomy of means. It was composed in 1980 at the Studio of Musikhochschule in Cologne.

Recording of Roberto Doati's "Una pulce da sabbia" ("A Sand Flea") for tape. This work utilizes a timbre space built on three dimensions: spectral energy distribution, spectral fluctuation, and high frequency energy which precedes the full attack of the tone. The sound synthesis models used are simple waveshaping and FM. The overall structure of the composition is generated by the projection on a two-dimensional space with frequency as the ordinate and time as the abscisa, of an architectural structure plan. Doati achieved the desired temporal extension by means of the ‘slowing perspective’ technique. As regards the choice and the treatment of the macrostructure and its internal organization, they depend exclusively on the compositional parameters: symmetry, regularity, direction, velocity, focus and flight point (terms borrowed from the visual arts world). The internal temporal organization of the polyphonic rhythmic structures that make up the macrostructure is given by the position of the focus. This one is determined too by the parameters above mentioned. Each structure takes the timbre that occupies the corresponding position in the timbre space. It was realized at the facilities of the Centro di Sonologia Computazionale at the University of Padova.

Recording of Robin Julian Heifetz's "The Vengeance," a ballet. It is programmatic in content. As a young boy, the composer accompanied his father – a writer – on research trips to the Indian pueblos of New Mexico where he spent two summers. These experiences made lasting impressions upon him. Years later, while conducing his own research in the cultural anthropology and ethnomusicology of the North American Indians, he discovered shocking documentation published in journals in the U. S. Bureau of Ethnology which provided evidence that the U.S. Army – as a matter of official government policy – had actively distributed Small-pox- and Cholera-infected blankets and clothing among the Indians in an effort to decimate them. This practice began in the mid-1700s and continued for about 100 years, ending in 1865 at the close of the American Civil War; actually, this practice ended in 1865 as a matter of official government policy only, for it has been conjectured by some authorities that the practice was continued covertly until 1900. The program of the work may be divided into two main sections: Part I, “Infection and Aftermath: is 10’48” in length; Part II the “Vengeance” itself, is 10’50” in duration and symbolizes …

Recording of Richard Karpen's Mu Song. Karpen used the programs "Music II" sound synthesis language and "Score II" not list preprocessor in the composition of this piece. It was realized at the Center for Computer Music at Brooklyn College, City University of New York.

Recording of Robert Rowe's "Spattering... A Shower." This piece of computer music focuses on the organization of sound and the process of adopting the medium of a digital computer to produce music compositions.

Recording of Gottfried Martin's Pax for tape. Includes electronic and natural sounds, including voice, news recordings, and recordings of war sounds.

Recording of Alcides Lanza's Sensors IV performed in 1984 by the McGill Concert Choir, conducted by Christopher Reynolds. The tape was realized at the Composer's studio (SHELAN Studio) and McGill University EMS in Montreal, QC, Canada. The piece explores different techniques of vocal wiring, especially the relationship of semantics, languages, and memory. The word "Memory" constitutes the entire text for the piece - using letter sound, recombinations of the word, and adding syllables from other languages that share similar etymology. Recording of the word "memories" -- Meg Sheppard's voice -- is used in the realization of the piece.

Recording of Tamas Ungvary's "Les mouvements mousseux." This piece was commissioned by Polish Radio. Most of the sounds and sound textures were created in Stockholm in the computer studio of EMS. Singing voices were generated by MUSSE, a vocal synthesizer developed at the Center for Speech Communication Research and Musical Acoustics of the Royal Institute of Technology in Stockholm. The three movements of the composition grow out of the material itself. Both additive synthesis and FM synthesis have been used to create the sounds which have also been treated by filters, modulators, reverberators. It was composed in the Experimental Studio of the Polish Radio Warsaw in 1979.

Recording of Arsène Souffriau's Fluctuations for electronic tape. The sound material of the piece consists of electronically synthesized sounds that are then manipulated in fluctuations at these levels: frequencies, harmonic spectra, ring modulations, tension voltage control, filter voltage control, various waveforms and attacks, frequency and voltage conversions, and impulses. Equipment used for the realization of the piece includes MOOG Synthesizer (Concertmate), EMS Synthesizer, EMS Sequencer, CASIO Sequencer, EMS Frequency and Voltage Convenant.

Recording of Klaus Ager's C.L.B. 512 for clarinet and recording.

Recording of John Celona's Scatters. It was produced using DISTRA, a real-time movement computer performance program created by the composer for a New England Digital Synthesizer.

Recording of Antonio Russek's "Piezas cortas" ("Short pieces") for tape. Russek calls this piece a "Políptico" or polyptych, which is an "arrangement of four or more panels (as of a painting) usually hinged and folding together" (https://www.merriam-webster.com/dictionary/polyptych). The piece was realized with mixed techniques that were created through Russek's musical studies. It was premiered at the Ciclo de Compositores Mexicanos (Mexican Composers' Cycle) in 1981.

Recording of Jouko Suonio's The Song of Ainur. Composed at the Experimental Music Studio of Finnish broadcasting Company "Yle."

Recording of Michel Redolfi's "Naissance et agonie de ma lampe de chevet" ("Birth and agony of my bedside lamp").

Recording of Ton Bruynel's Rain for two live pianos (four pianists) and two soundtracks (through loudspeakers). The sonority of a rainshower was a model for this piece. The sounds of rain were recorded on tapes and electronically remade for vibrating strings. The noises of the rain were also used to trigger voltage-controlled apparatus. The product becomes the sound of an indoor rainshower.

Recording of Werner Kaegi's Conversations: Partie 1: In Memoriam.