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 Emmanuel Ghent's Brazen.

Recording of Åke Andersson's Lapinkyla jaa tckojarven alle.

Recording of Peter Tod Lewis's Ekstasis

Recording of William Hawley's Wave (for kiyoko)

Recording of Åke Parmerud's Suburban nights. Poem included: Suburban nights metallic, chilly hard surfaces, wiping out the feeling of depth and under the geometrical sediments violence hard, like the surfaces strikes again soft bodies desperately

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 Bernard Heidsieck's Tu viens chéri(e). The composer recorded 5 men and 5 women saying the sentence "Tu viens, chéri(e)" 150 times in a row and then combined this recording with mixed tape. The tape is stereo, with the women at the beginning on one track and the men on another, until all voices are together on both tracks. The entire piece represents a verbal orgasm with an unexpected phenomenon of more panic in each voice than of tenderness.

Recording of Vassilis Risiotis's Eroptycha II

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 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 William Buxton's For Dance

Recording of Ryszard Klisowski's Cadenza

Recording of Lewis Nielson's Traveler

Recording of John Rimmer's Where Sea Meets Sky Part I. This piece consists of two parts. Part 1 an electronic piece, Part 2 an instrumental piece which is an outgrowth of the electronic music. The work was inspired by a plane journey from Australia to New Zealand on a particularly beautiful, dead day. The elements of blue void and cloud formations provide the force for the piece which falls into several sections each separated by a length silence. The final section contains a spoken reference to the poem "Those Others" by Ian Wedde, narrated on this tape by the poet. "The sea does not meet the sky. They kiss only in our minds. They are priceless in that space which recedes forever where we make them lovers forever."

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 Ivan Parík's Cantica feralia. The basic material is an orchestral work of the composer. The material was re-worked with electronic manipulations; originally the work was quadraphonic. Dedicated to the victims of the concentration camps of the Second World War.

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 Hubert Howe's Kaléidoscope, for electronic tape.

Recording of Zoltan Pongrácz's Barisphère. The work Barisphère is the central part of a cosmic series in three parts: Luna IX, Barisphère and The Big Bang. Its title refers to the central core of the earth, consisting of molten iron and nickel, with a diameter of about 30km. The composer's intention was to create, using electroacoustic means, a program music that excites the cosmic imagination of the listener. The sound material is made up of both synthetic and natural sounds rigorously structured by certain mathematical operations. Both rhythmically and formally, the proportions of the work are borrowed from the various measures of the earth. The treatments used are: transpositions, filtering, ring modulations, phase shifts, envelope transformations, feedback, reverberations, etc.

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 Neil B. Rolnick's Empty Mirror. This piece uses as sound sources the music of peoples distinctly apart from the tradition of Western Classical music. The composer makes use of the complex interplay of harmonic and rhythmic motion and tries to shape the sounds from diverse and trans-cultural nature of the original material.

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 Knut Wiggen's Deux études