Recording of Barry Truax's Sonic Landscape No. 3. This work was created for four computer-synthesized soundtracks. This piece is intended to create a sound environment that surrounds the listener and envelopes them in an acoustic space of changing dimensions. Most of the sound structures used in this composition are synthesized with the P0D7 program for non-real-time synthesis.

Interview with Gid Bryan, discussing his life experiences and viewpoints.

Interview with David Lee Boyer, discussing his life experiences and personal viewpoints.

Interview with W. M. Austin, who discussed his life experience and viewpoints.

Recording of Eduard Artemiev's Peregrine. The composer wrote this work under the theme of "pilgrims" and attempted to combine electroacoustic music with the energy and instruments of rock music. The main sounds in this piece are electronic as well as a soprano voice.

Recording of Jorge Rapp's Un Tiempo, Un Lugar. This piece was composed in the composer's studio and CICMAT. This work reflects dramatic moments of the Argentine history during the decade of the 70's. It was composed from electronic sounds and acoustic sounds of instrumental origin and social environment, processed in the laboratory of the CICMAT and in own studio. The acoustic sounds inhabit with melodic rhythmic impulses of electronic origin, fusing or contrasting between them. It consists of five sections, these interlace without a breath in between to a growing tension that declines towards the end.

Recording of Peter Beyls' It always takes a short time. The work combines tape music and spoken words live with electronic transformation of vocal material. This work is a version for tape alone. The electronic sound material as well as the original sounds were used and structured on 4 tracks. The vocal material, spoken by Herman Sabbe, consists of a textual structure by the Belgian artist Yves Desmet. This material has been intensively manipulated, with particular attention to the purely sonic aspects of language. The resulting sounds are semantically meaningless although a musical compilation of the text content can be detected at times. In the first part, colored noises and textures of gradually increasing complexity were used. The central part is built on the exploitation of sounds similar to those of the percussions and almost at the end of the work a continuum with slight fluctuations in the colors and the dynamics is growing.

Recording of Micheline Coulombe Saint-Marcoux's Miroirs. This work identifies the problem of togetherness with the coexistence of the two sound sources, mainly using as basic material a harpsichord score previously recorded and subsequently subjected to various electroacoustic treatments. Concrete sounds and modulated sounds (EMS synthesizer) are used, to which are added some electronic sounds recorded directly in the studio. The final cut of the magnetic tape then served as the basic material for the development of the score structured in six moments which evolve into "mirror games".

Audio reel from the Steven Fromholz Papers recorded during the Dr. Pepper Concert: Fromholz - Goin' on the Road, Live at KFM recorded on Ampex 641 Professional 7" Reel.

Audio reel from the Steven Fromholz Papers recorded during a live event with Steven Fromholz, telling stories of his travels and performing music for an audience. Contains: 1) Sea-Goin' Junkie 2) Man With The Big Hat.

Recording of Michela Mollia's Viola Celeste. This work was performed at the Experimental Studio of Electroacoustic Music of the Conservatory of Pesaro. Its sound material is made up of 950 sines, grouped in a mixture of 4 sines, each and arranged in 16 sets of 21 mixtures from start to finish. Each layer (4 complexes) is a fairly complex superposition of sinusoidal sounds, the frequencies of which vary over time so as to avoid the creation of melodies, but to stabilize between one frequency value and the next, a very long interval. Viola Celeste is the name of an organ register. The title signifies the composer's intention to synthesize the sound of this instrument, but rather to create a sort of gigantic uniform "cluster".

Recording of James Dashow's Effetti Collaterali performed by the clarinetist Phillip Rehfeldt. The composer's first effort in using systematically his concept of AM and FM spectra as inharmonic harmonizations of specific dyads. The specified pitches are made to generate their own accompanying frequencies, generally inharmonic with respect to the pitches themselves, as a result of FM or AM procedures. Each interval or each pitch-pair can generate several possible spectra, but the similarity in sound quality between kinds of spectra quickly reduces to a limited number of readily manageable families of chord-types. These chords are the basis for a variety of musically interesting relationships, and this work represents but one of many possible developments of these kinds of sounds. Effeti Collaterali was commissioned by Francois Bousch who was the resident holder of the "Prix de Rome" at the French Academy for the 1975/76 concert season.

Recording of Hildegard Westerkamp's Whisper Study for Two Electroacoustic Soundtracks. Whisper Study is based on the sentence "When there is no sound, hearing is most alert" (a quote from the Indian mystic Kirphal Singh in Naam or Word). Except for the distant horns, all sounds were derived from the composer's voice, whispering the above sentence and the word "silence". Whisper Study started out as an exercise in exploring basic tape techniques in the analog studio of the 70s and using the whispered voice as sound material. Eventually, it became a piece about silence, aural perception and acoustic imagination. Whisper Study explores the place or moment where sound ends and its image begins. The poem "When There is No Sound" by Norbert Ruebsaat was written in direct response to the original version of Whisper Study. The poem in this version is spoken by the composer inside a soundscape of icicles and footsteps in snow, which originally was created for her radio series Soundwalking on Vancouver Co-operative Radio in 1978/79. Eventually this section was mixed with the last part of the original version of Whisper Study.

Recording of Wes Richard Wraggett's Cetacea Suite.

Recording of John Anthony Celona's Micro-Macro. The composition deals with the illusion and timbral fusion of mixing voices with tape material. The voices were produced using the Extended Vocal Techniques Ensemble of the Center for Music Experiment who were instructed to utilize chanting, reinforced harmonics, dental trills, other extended technique, and imitation with the recorded bell material. The tape consists of a 4-channel Hybrid controlled filter sweeping of tuned oscillators and pre-recorded bamboo and bell material. The work is dedicated to Ed Emshwiller and Darrel DeVore.

Recording of Bernard Heisieck's Tu Viens Chéri(e).

Recording of Luigi Ceccarelli's Il Contingente Cambia Colore, installation for 4 tape loops with concrète sounds.

Recording of Barry Truax's Sonic Landscape No. 3 for four computer-synthesized soundtracks. The work is divided into three sections, each of which organizes the timbral and textural component in different ways. Familiar percussion timbres occur in the first section. In the second section, less familiar timbres are introduced in heavier densities such that the interaction of entire groups of timbres and events are perceived. In the final section, individual events are not perceived as much as a single, complex texture composed of related broad-band elements. The work was realized with the composer's POD programs for computer sound synthesis and composition at Simon Fraser University. The synthesis method is that of Chowning's frequency modulation timbral synthesis. The programs run on a Hewlett-Packard 2116 minicomputer with 12-bit D/A converter and digital magnetic tape unit. The sound structures are initially composed interactively with the POD6 program that utilizes real-time monophonic synthesis. The compositional model involves the selection of sound objects to be distributed in a random, Poisson-determined frequency/time field whose density and frequency range are variable in time. For each structure, two or four random variants are calculated and stored; each later occupies a different track on magnetic tape. Most of the sound …

Recording of a personal letter to a family member who is traveling, made in Aizawl village.

Recording of a personal letter to a family member who is traveling, made in Aizawl village. This part has instructions and advice to parents on the children's upbringing.

Recording of Michela Mollia's Viola celeste. This work was realized at the Experimental Studio of Electroacoustic Music of the Pesaro Conservatory. Its sound material consists of 950 sinusoids (sine curves) grouped into a mixture of 4 sinusoids each and arranged in 16 sets of 21 mixtures from beginning to end. Each layer (4 complexes) is a rather complex superposition of sinusoidal sounds whose frequencies vary in time so as to avoid the creation of melodies, but to stabilize between one frequency value and the next, a very small interval. "Viola Celeste" is the name of an organ register. The title means by my intention to synthesize the sound of this instrument, or rather more accurately, to create a sort of gigantic uniform "cluster.”

Last October while thinking about a composition I was to realize in the Columbia-Princeton Studio I spent a lot of time in my room listening to distant noises coming in through a half-open window. It was a seemingly disordered mixture of the street hubbub, signals of the river ships, and the distant thunder of planes. After some time I had an impression of all these noises being alive and perhaps even conscious of their existence; it seemed as it they wanted to speak. United into one whole and yet confined only to themselves they created a lonely choir. I wanted to express this feeling in my new composition. Solitude of Sounds does possess a certain plot. In the first phase, the homogeneous sound material exists only at the lowest register, as if unable to "free" itself from the area of darkness and uncertainty. Later, in the higher register, there appear sounds complexes of harmonic structure. They form a kind of a "choir" of aliquots, mutually penetrating and "singing through" one another. However, they are not allowed to create any new quality due to their restricted nature. Circling and persisting, they remain forever imprisoned in their own imperfection. I would like …

Recording of Iván Székely's For Alrun I et II. The work entitled "For Alrun" was composed in 1975 in Bayreuth during a live electronics course. The singing part of the play of about 7 minutes, a form and a light local broadcast, contains the popular song tchango beginning with the words "Gyere ki te gyšngyvirag" / come, leave my beautiful, my lily of the valley / - this one will have to be changed to all the presentations in Hungarian. This task was undertaken at the world premiere by Alrun Zahoransky - hence the title of the work. The player applying the electronics, especially from the point of view of the instrumentation, produces sounds and manipulates the electronic sounds and the human voice. The piece does not require studio work, each tone or voice sounds in vivo (i.e. each presentation, each show is new). The focus is on the psychic process of the piece and not on the technical process; its different degrees of difficulty adapt to the possibilities of the presentation. The singer is Ágnes Zsigmondi. The translation of the song is: Come, leave my beautiful, my lily of the valley, Because the moon is mounted, alas. I will …

After an intense period of analog familiarization with the range and enormity of available sounds extraterrestrially and in nature, I tried the only techniques then available to me, tape manipulation and speaker placements. The only coloration that I employed in early sound handling was through equalization, balancing and combining mix-downs. I have always monitored from nearly neutral sensors, and my interest has been in trading, configuring and juxtapositionings and in the presentation of sound in natural and climatically different contexts, mainly exterior and in realtime. Within the 1980s, I worked with 200-speakers using an Intel 8080 microprocessor used for satellite teleperformances, with collaborators and in outdoor "studios." Structure wise my work centers around spaces in spaces, scale and proportion and my soundworks effect an awareness of the psychological effects of sounds, for instance, from trees and wind transformation via my windribbon. I'm concentrating on conceptualizing a segue into Internet 2 realtime with oncall 2way availabilities of my data-laden resources. My basic groundwork includes several recyclings of the TerraInstruments including the signal discs, selfbroadcasting trees, lased raindrops and windribbon variations in an attempt to express the voltages I seek from natural sources as recontextualized audible constructs: offering personal connections to the …