Recording of Iván Patachich's Ta Foneenta. The base of the work forms a mathematical series. The sound material of the work consists of vowels, synthetic sounds, and Morgenstern's poem "The Great Lalula." The construction of the work is two-channel and panoramic and constructed spatial movement are also often used. Sound units present in the molded parts are microstructures. The work has a so-called bridge shape, so the eleventh molding is a variation and mirror image of the first part, the tenth molding varies the second, and so forth. The sixth molding is the highlight of the work.

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 Teresa Rampazzi's Canti per checca.

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 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 Vassilis Risiotis's Eroptycha II

Recording of Curtis Roads's Construction. This piece consists of continuous sound spectra. It was composed intuitively by ear. Its process of forming is characterized by an interplay among sections of historical development (continuous transformation), sequences of event (discrete spectral "harmonies"), and disjoint non-sequiturs (contrasting modes of musical behavior). "Construction" is a model, an alternative vision to the dominant mode of structuring. The technical devices used to make the work were: Moog III Synthesizer, Bode Ring Modulator, Bode Frequency Shifter, Ampex 4/2 Mixer, JBL Monitors, Quad/Eight Mixing Console, ITI Parametric Equalizer, Pultec Equalizer, Acoustic Echo Chamber, Altec Monitors.

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 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 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 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 Alain Savouret's Valse molle

Recording of Shoko Shida's Lazy Garnet

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 Denis Smalley's Ouroboros

Recording of Satoshi Sumitani's Constellation. This composition is a process of pursuit to sonority in limited materials possibility of transformation and combination. In addition to all instruments used were a Graphic Equalizer, a Eariable Speed Tape Recorder, and a Microphon setting.

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 …

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 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.

Recording of Julio Martín Viera's Skolyon. The piece was composed using the ARP 2600 synthesizer among other analog technologies.

Recording of Lothar Voigtländer's 3 elektronische Studien. The basis for the composition are the poems of the poet Erich Arendt. The poems were written around 1925 in his Expressionist creative period. Accordingly, the compositional means: concrete musical material is mixed with electronic sounds to achieve a strongly expressive and suggestive associative effect. It is less thought of as a "setting" of the texts, but should be added to the often strongly symbolic language formulations as a different, musical dimension. The vocals and the piano usually work live. The piano is mostly treated as unrecognizable - this is to achieve a seamless insertion into the electro-acoustic sound material. In a performance, both piano and singer can be electro-acoustically amplified and to a lesser extent technically manipulated (reverberation, iteration, etc).

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 Hildegard Westerkamp's Whisper Study (for two electroacoustic sound tracks). Whisper Study is based on the sentence "When there is no sound, hearing is most alert" (a quote from the Indian mystic Kirpal Singh. 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 Ruebstaat 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 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.