Recording of Klaus Stahmer's Transformationen. This is a work for electronics and instrumentals. It consists of 4 movements: Meditation, Um Den Kreis, Gewalt, Ozeanisch. This work was commissioned by Sonoton.

Recording of Alcides Lanza's Penetrations VII. Penetrations VII (1972-III), the chamber version of Penetrations VI, moves from the individual's memories to a concern for mankind's global memories. This piece also deals with communication...or the lack of it. The performer is at the same time a child and a woman experiencing all the memories of humanity. The accumulated hatred and evil of our human history becomes too much to remember, causing a collapse. However, the piece ends in a rebirth of hope such as children perennially inspire in us all - and a reminder to "listen". The work uses the voices of Meg Sheppard, Alejandro Puente and Alcides Lanza. Some sounds were created using modules created by Hugh Le Caine. Composed at the composer's studio SHELAN, in Montreal, and finalized at the EMS, McGill University.

Recording of Jorge Naparstek's Simple y Hueco. This piece uses only sounds from a Shakuhachi flute, which was recorded by the composer. The spirit of the piece reflects the introspective and intimate character of the composer.

Recording of Barry Truax's Gilgamesh, The Journey to the Gods, a music theatre work for singers and 12 four-channel tapes. The work is based on the legend of the Sumerian god-king, as told in the Epic of Gilgamesh which dates from the 3rd millennium, B.C., 1500 years before Homer. In the epic, Gilgamesh is part god, part man, who is responsible for the building of the first walled city, Uruk, and other feats of technology. He has become close friends with Enkidu, a "wild man" reared by animals but then tamed and civilized to become Gilgamesh's heroic companion. However, Gilgamesh taunts the gods who declare that one of them must die, and here the story of the musical work begins, with the death of Enkidu. Gilgamesh reacts with anger, nostalgia for the glorious past, a prayer to the gods, and finally he commands them as King to reverse the death, all to no avail. At the end of the first half of the work, a supernatural "God voice" heard through the loudspeakers challenges Gilgamesh to come on a journey of quest for the secret of immortality. The second half begins with a tone poem (tape 7) called The Journey to …

Recording of Michaël Christopher's Mithril Canticles.

Recording of Peter Tod Lewis's Signal Messe. "Signal-messe" is an attempt to make a single coherent "bi-sensory" experience from two independent media expressions. The "performers" were the creators, having long since stored their improvisations on magnetic tape or film. The "mess" of stored "signals" was severely cut, edited, processed, mixed, according to a structure that seemed to be dictated by the material itself (though, naturally, in light of subjective considerations). The structure continued to emerge when the tow elements, tape and film, were presented together. It was evident they had much in common: the film seemed, incredibly, a visual analogy of the music, their internal rhythms identical. It remained simply to synchronize the two to match certain salient audio features with video ones. The film is a movie of various video patterns produced largely through video feedback of a black and white system and then converted to color by a video color quantized, a unique device which allows the operator to assign virtually any color to any value in the video grey scale. The film provides a window into a fantastic color world that just might be the same aesthetic realm as that of the sound.

Recording of Douglas Lilburn's Three Incapes, consists of three movements, the outer two formally related while framing a central statement. The colour and energy of this movement are finally reduced to a series of drum-taps. Three Inscapes is the first work where Lilburn used only the voltage-controlled synthesizer - the Putney VCS3.

"Metallika Glypta III", is the third release of a series of three works under the same title, was written in February 1972. Their processing and the final realization were made in the studio of the author. The sculpture exhibition of Loukoupoulos (1972) was the starting point of "Metallika Glypta". The idea of ​​using sounds taken exclusively from metal sculptures was a particularly challenging stimulus. The musical activity starts at the first moment when the sound material was collected. The ideas on the making of sounds were preconceived, they came one after the other. Each successful essay highlights the emotion of the first creative success. The same emotion was found in later treatments and their inclusion in large units. The form of the work -fluent and evolving without stop- serves the integration of musical ideas in a composition that has not denied the original material. The feeling of metal is thus always present.

Recording of Peter Tod Lewis's Signal Messe. "Signal-messe" is an attempt to make a single coherent "bi-sensory" experience from two independent media expressions. The "performers" were the creators, having long since stored their improvisations on magnetic tape or film. The "mess" of stored "signals" was severely cut, edited, processed, mixed, according to a structure that seemed to be dictated by the material itself (though, naturally, in light of subjective considerations). The structure continued to emerge when the two elements, tape and film, were presented together. It was evident they had much in common: the film seemed, incredibly, a visual analogy of the music, their internal rhythms identical. It remained simply to synchronize the two to match certain salient audio features with video ones. The film is a movie of various video patterns produced largely through video feedback of a black and white system and then converted to color by a video color quantized, a unique device which allows the operator to assign virtually any color to any value in the video grey scale. The film provides a window (a “space gate?”) into a fantastic color world that just might be the same aesthetic realm as that of the sound.

Recording of Michael Christopher's Mithril Canticles. This piece is a heavily edited work utilizing two opposing sound ideas. One is "noise-oriented" sound achieved through fast sequential activity processed by ring modulating the reverb. This activity is opposed to the three-to-five note tune which permeates the work.

Recording of Camilla Söderberg's Subcontra X

Recording of Gabriel Brnčić's Batucada.

Recording of David Koblitz's Ceremony of Shrugs. This piece was originally composed as music to a dance choreographed by Amy Ellsworth and performed by members of the University of Michigan Dancers. It is heard here in a slightly altered form. The sounds used in the piece were produced by electrical acoustic instruments, in addition to purely electronic sources. All were subject to modification and rearrangement in the University of Michigan Electronic Music Studio.

Recording of John Maryn's Fantasie über Zerbrochenes glas.

Recording of Hubert Howe's Freeze

Recording of Ensemble Team Brno's Capriccio. Ensemble Team Brno, founded in 1967, is comprised of the members Alois Pinoš, Arnošt Parsch, Rudolf Růžička, and Miloš Štědroň. All members of the Team studied and graduated at the High Musical School at Brno, the Janáček Academy of the Musical Arts.

Recording of Ted Dawson's Concerto grosso I.

Recording of Joaquin Orellana's Malebolge.

Recording of Alvise Vidolin's Hardlag.

Recording of Lorenzo Ferrero's Fawn. "Fawn" has a number of very contradictory meanings in English; perhaps this is why it is a good title for a work on love that uses two extracts from Sappho as its text. The letters of this word are even the initials of a dedication that has meaning only for the author. It creates a relationship (Aristotelian?) between an esoteric (for oneself) and esoteric (for the public) that reproduces even romantic attitudes. This work can be performed live without any manipulation of the voice and is written as a normal score. The vocal part uses as a base the ancient eglian-chromatic medium and almost always respects Greek metrics and intonation.

Recording of Pekka Siren's Oil. The piece was Siren's protest against the harbor plan proposed by the Finnish oil company Neste in the 1970s to establish a huge oil harbor in the nature preservation area in the southern coast of Finland. It was realized in YLE TV Studio two and three in 1972.

Recording of Michel Longtin's Au nord du lac supérieur.

Recording of Pierre Bernard's Gérémie.

Recording of Miroslav Bázlik's Concertino.