Recording of Åke Andersson's Lapinkyla jaa tckojarven alle.

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 Bruno D'Auzon's Solipsismo. This work combines a finished text (in Portuguese) and its relation to a musical context. The composer has tried to combine the movement between sounds and speech, a poetic language without concern for meaning and in which sound objects or musical phrases may more easily support a concept or an image than words. The piece is divided into five parts, with the middle part playing a relaxing role where the theme is no longer human language.

Recording of Miroslav Bázlik's Simple Electronic Symphony. This piece is arranged into four rather independent parts: Sonata, Cantus firmus, Madrigal and Ciaccona, designations of which reveal the author's effort to make the cyclic form of a symphony. The polarity of traditional and unconventional can be found also in the use of vocal or pre-composed material in a variety of transformations by studio means so that the cycle loses neither homogeneity nor tension.

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 Eduardo Bértola's Tramos for tape. The piece was made from two sound sources: radio broadcasts and direct recordings of popular events. These materials were structured by simple juxtaposition excluding the mixes and any kind of development of the original sound. It is therefor a purely horizontal structure in which we note the union of fragments of hard edge, perfectly delimited, similar to that used in some works of North American Pop Art. In this way, Bértola expresses his own point of view on the cultural significance and the non-significance of radio mass media in the countries of Latin America.

Recording of Jack Body's Musik Dari Jalan. This piece depicts the musical sounds and ever-varied texture of resonances of Indonesian streets. There are street sellers advertising their products and a street musician who accompanies himself with anklung (bamboo resonators which are shaken) and a small gong.

Recording of Rainer Boesch's Drama

Recording of Georges Boeuf's Champs.

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 …

Recording of William Buxton's For Dance

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

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 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".

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, in fact, each pitch-pair (or if you don't want to limit yourself to the chromatic scale, each pair of arbitrarily decided upon frequencies) 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. The clarinetist in this recording is Philip Rehfeldt.

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 James Dashow's Whispers Out of Time. The title of this piece refers to the last line in a poem titled "Portrait in a Convex Mirror" by John Ashbery (1975). The composer used a VCS3, three ReVox tape recorders each with vari-speed gadget, and an AKG reverberation unit in an attempt to express with electronic sounds the moods, feelings, and sensations the four words of the title invoked in him.

Recording of Raoul de Smet's Adagio. For this work the composer had proposed harmony and relaxation "before anything else.” From there, a slow and steady tempo and very simple form. The sound material is provided by twelve ordinary sound generators. The work begins with a chord in the treble, slowly emerging from the silence or void sound and sustained by a regular pulsation in the bass, the result of differential sounds. Then several new sounds are added while others change timbre, octave, or dynamics causing different sounds of other types. During a slow rise in crescendo, short glissandi roam and decorate the sound space until the climax is reached. A sound column, containing twelve frequencies, comes to rest for about a minute, allowing the ear to move in the audience and thus capture the sound shimmer. This passage is the opposite of the sound of nothingness and could thus appear as a sound universe where one could also lose the notion of time. A brutal blow breaks this sound column like a spring too long stretched. This universe collapses slowly to retreat into the depths of the sound nothingness from which it came. The work was realized on an analogue …

Recording of Francis Dhomont's Syntagmes. This work obeys a double concern: formal rigor and vagrancy of the imagination. Seemingly contradictory proceedings, they are inspired by linguistic mechanisms which - within the limits of a code - allow innumerable discoveries.

Recording of Hilda Dianda's "...Despues el silencio..." ("...After the silence..."). The piece is complex in its apparent simplicity. The slow evolution of the piece, with its predominantly dark and static sounds from which material of greater brightness and mobility emerge occasionally. Silence also plays an important role in the composition. It was realized at the SISMAT Laboratory.

Recording of László Dobos's Playing with Piano. The piece consists of six parts and includes electronic piano.

Recording of Charles Dodge's In Celebration. "In Celebration" was composed during the first part of 1975. The composition tends to capture the spirit and structure of Mark Strand's poem and to give it a coherent sense musically. The poem has a two-part structure separated by the reappearance of the verse "You sit in a chair.” The two parts of the poem can be distinguished from each other by the different degrees of passivity attributed to the "You,” the person to whom the poem is addressed.

Recording of László Dubrovay's Kyrie for tape.

Recording of Manuel Enríquez's Viols II. A stringed instrument, both with and without bow, is the sole source of sound.