Recording of Iván Patachich's Funzione acustico

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

Recording of Teresa Rampazzi's Canti per checca.

Recording of Shoko Shida's Lazy Garnet

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 Richard Orton's Ambience. Ambience for solo bass trombone and tape was written for the American Trombonist James Fulkerson and first performed by him in the Wigmore Hall, London, on 17 May 1975. He has since included the work in many recitals during his tours in Scandinavia, Canada and the USA. The title "Ambience" here refers to the imaginative sonic environment surrounding the sounds of the trombone, including the most "artificial," synthesized sounds, instrumental ensembles which incorporate the trombone, and environmental recordings including public sounds we will recognize and share. Within this sonic environment the trombone at times asserts itself, at times merges most imperceptibly, and eventually complements it and achieves a harmonic and dynamic balance.

Recording of Stephen Montague's Slow Field. The primary sound was recorded from a toy organ and altered by means of filters, etc. The work employs heterodyning (using an electronic circuit to combine an input radio frequency with one that is generated in order to produce new frequencies) and the use of vari-speed near the end.

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.