Recording of Iván Patachich's Funzione acustico

Recording of Graciela Paraskevaídis's Haauqui (pronounced Wauki or Ouaouki) for two-track tape. The title is a Qechua word referring to a small statue carried by the Incas that resembles their own image, a meaning extended to brotherhood, community, and friendship. The sound events, created from both microphonic and electronic sources, aim at a non-discursive, non-anecdotic function based on a self-imposed simplicity and on the presence of structural silence. It was realized at Elac, pequeno estudio de Montevideo, in 1975.

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 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 Hubert Howe's Kaléidoscope, for electronic tape.

Recording of László Dubrovay's Kyrie for tape.

Recording of Åke Andersson's Lapinkyla jaa tckojarven alle.

Recording of Shoko Shida's Lazy Garnet

Recording of Lothar Voigtländer's Méditations sur le temps. Based on a poem by Eugène Guillevic entitled "Le temps." The electronic composition is divided into three parts, each one preceded by sentences from the poem. These three quotes are suggestions for musical meditation and not programmatically to be understood in the narrower sense.

Recording of Ryszard Klisowski's Memento for tape.

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".

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 Jozef Rychlik's Musinelle. Material of the piece was extracted from the jazz piece (looped) and processed through the following devices: 8 Octave Filter Bank, Random Voltage Generator, and Pitch-to-Voltage Converter. The new material was completed with the electronic sounds from Synthi AKS. Particular sound and rhythmical structures were edited and sequenced through the preciously composed narration with wide rhythmical and space expression. Editing was made with scissors and special splice tape.

Recording of Wilfried Jentzsch's "Le mythe de la machine" for piano and tape. The design is based on various calculations of chance. The tape was made in collaboration between the electroacoustic studio of the Hochschule für Musik Köln and the Center for Studies of Mathematics and Musical Automatics (C E M A M u) in Paris.

Recording of Eugeniusz Rudnik's Nokturn. Nokturn was made according to a conventional method, by typical means for a classical electronic music studio. The basic materials come from different sources and are so deeply transformed that it is difficult to recognize their origins. There is one exception - the ability to hear the flute bill that performs background functions at other musical events that take place.

Recording of Denis Smalley's Ouroboros

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 Peter Tod Lewis's Perpetusa. A 4-Channel Tape Presentation in Four Movements. In electronic music, a typical "patch" (system interconnection) will comprise an audio signal and audio/sub-audio, AC/DC controls, where various parameters of the former are modified at specific points in the signal path by the latter. In the present work, these details may be of interest, in that the signal is one of the source materials for an earlier work, Gestes II, while the controls are voltages derived from Gestes II itself. This principal patch for Perpertusa produced a proliferation of sonic materials so baffling I had at first no idea how to proceed, yet so compelling I was forced to the task. Began with small structural units (which abound in this work, where virtually every moment partakes of a structural gesture) and crept towards larger ones. Towards the end of the work, a "new" idea, as of the sound of horns or tubas, is heard. It is none other than the signal, the source (whose torn and bleeding manifestations we have been listening to all along) at last unmodified. This mournful blare (from the fortress itself) signals the conclusion and summing up.

Recording of Jukka Ruohomäki's Pisces. The sound texture of this piece is exceptionally dense and compounds over one hour of mixed concrete and electronic sounds into six minutes. Some of the materials were originally made for a radio play in which people go through very painful experiences which finally transform them into fish.

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

Recording of Lucien Goethals's Polyfonium. This is a mobile electroacoustic composition consisting of 4 independent layers that must be superimposed ad libitum during the listening even if the piece is in a concert hall. By varying the modes of superposition, one obtains a different version each time without the general character of the piece changing. It is also possible to make reduced versions, that is to say, by superimposing two or three layers only. Such achievements will then give less complex versions, but quite complete from the musical point of view because each structural layer is autonomous. The basic material consists of concrete sounds and electronic sounds. Complex figures were made using an electronic programmer. The piece is dedicated to Nicole Lachartre.

Recording of Albert Mayr's Relazioni-transformazioni. “Relationships-Transformations” is part of a series of works that are based on the TIME-ASPECTS text and thus start from the same basic hypothesis: highlighting the relationships that come into being between various sound events - or even visual, theatrical – in function of relationships between their organizations in time and subjective transformations - of such events that occur during the operation. This hypothesis is carried on with the use of a very small material, both for recorded and instrumental parts, without any virtuosity, even to avoid masking, with affirmative artisans, the state of erosion of making music today.

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.