Recording of Daniel Arfib's Voyelles d'éveil.

A series of paintings of large red and peach ovals with multi-color diagonal brush strokes and large white grid on top.

Recording of Alfonso Belfiore's Aegror, a composition for computer made in 12 voices grouped in three channels. Two generating forces are at the basis of the development of the work, where one tends to the stratification (process also identifiable in the structure of the same sound) of the sound materials in massified and crystallized events, the other, contrary presence, tends, in the disintegration of these structures, to the restitution of a perceptible individuality to each layer up to the elementary ones of the acoustic parameters of a single sound.

Recording of Andrew Bentley's Portrait. This work, composed for 3 groups of singers and tape, explores a range of vocal sounds stretching back from the musically familiar and traditional type of vocal production, known as "singing", through voiced and unvoiced sound production of several kings towards an abstract sound palette made possible by interactive combinations of electronic and vocal sounds heard from the tape. Because of the new significance which words take on when "set to music" in a traditional way, I took the alternative approach of re-composing the text (a poem by Gertrude Stein) as part of the musical events, fragmenting word and sound play, but leaving the more declamatory phrases intact.

Recording of Andrew Bentley's Portrait. This work composed for 3 groups of singers and tape, explores a range of vocal sounds stretching back from the musically familiar and traditional type of vocal production, know as "singing", through voiced and unvoiced sound production towards an abstract sound palette made possible by interactive combinations of electronic and vocal sounds heard from the tape. Because of the new significance which words take on when set to music in a traditional way. The composer took the alternative approach of re-composing the text (a poem by Gertrude Stein) as part of the musical events, fragmenting word and sound play but leaving the more declamatory phrases in tact.

Recording of Paul Berg's I Never Knew You Cared. 1. I Never Knew You Cared was programmed in PILE, a language for sound synthesis, and executed on a PDP-15 computer at the Institute of Sonology, Utrecht. The program for I Never Knew You Cared can be considered a description of the piece as well as the rules for producing it. When the program is started on the computer, the piece follows in real-time, without any further intervention or manipulation. The synthesis technique is an adaptation of Hohn Chowing's frequency modulation technique.

Recording of Frank Michael Beyer's Schwebungen. The interference of sounds produces gentle and undulating movements that do not escape attentive hearing. In the moments of coincidence (nodes) of this interference, a "bell" sound pushes the beginning of a new color.

Recording of Frank Michaël Beyer's Schwebungen. The interference of sounds produces smooth, undulating movements that do not escape close hearing. In the moments of coincidence (knots) of this interference, a "bell" sound prompts the beginning of a new color.

Recording of Lars Gunnar Bodin's Dedicate to you II. A text is fragmented by the equipment of the electronic music studio and then processed to form a model of semi-subconscious communication. The voice fragments are then processed and manipulated with electronics to create the granular synthesis like sound.

Recording of Jürgen Bräuninger's Panta Rhei. This piece is connected for one female dancer who is connected to a synthesizer via a cable ("Umbilical cord"). "Panta Rhei" ("everything flows") refers to the Greek myth of the Three Fates (Clotho, Lachesis and Atropos). The cable represents the string of life which the performer can not escape. This dependency forces her to react to the sound events with reach her through the cable.

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Recording of Herbert Brun's Dustiny, an electronic composition.

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Recording of Rodolfo Caesar's Candomblet. This piece was created through manipulation of the Candomblet record synthesizer. The choice of sound material follows purely musical criteria; there is no nationalist intention. Piece uses music originally made for dance.

Recording of Rodolfo Caesar's Curare II. The piece is a revision of a work begun during the course at the GRM in 1975. It was finished in Rio de Janeiro. The piece uses three families of acoustic sounds: guitar and Jew's harp being two of these. Curare is a double-purpose substance used by the Amazonian Indians for combat; it is a deadly poison, and yet it also serves as an effective hallucinogen at feasts. The double aspects, the ambiguous atmosphere of certain passages, the evidence of others, and a thousand other parallels have been suggested the title for another work baptized after being created.

This is the first in a cycle of pieces made of the same base material: samples taken from recordings made in a kneader and with a flint block.

Recording of Luigi Ceccarelli's "Abominable A" for magnetic tape. The piece includes the voices of Kadigia Bove, Francesca Furlanetto, Eugenio Giordani, Luciano Martinis, Michela Mollia, Achille Perilli, Marina Poggi, Enrico Pulsoni, Giovanni Puma, Kerstin Riemer, Claudio Rufa, Stefano Scodanibbio, Gaetano Trusso, and Catherine Verwilgen. The piece contains a recitation of all the words in the Italian vocabulary that begin with the letter A, read in sequence from voices with different stamps, rhythms, and intonations. To these are added other sequences in French, German, and English. The work is divided into fifteen sections, each of which has a different criterion for processing the timbre, rhythm, and space. It was realized at the Electronic Laboratory for Experimental Music at the Conservatory "G. Rossini" in Pesaro from 1978 to 1980.

Recording of Ka Nin Chan's Yeh-Pan Yueh.

Recording of Daniel Chorzempa's Sonett.

Recording of Claude Colon's Diastasis 3.

Recording of James Dashow's Partial Distances. It is the last purely analog electronic work Dashow composed. There are a few sounds in this piece generated by computer but significantly transformed and altered by analog techniques of one kind or another, such as dynamic filtering, delay line processing, extreme velocity manipulations, etc. The piece was made by the old tape cut and splice method, mixing and re-mixing pairs of ReVoxes onto a third one, and avoiding tape hiss with the newly invented dbx noise reduction box. The piece is in 4 sections, the first two blending smoothly into each other, and these are separated from the fourth by the giant multi-voiced "ostinato" movement that builds to the work's climax. The sounds are constructed from series of partials whose distances between each other vary from harmonic to inharmonic and are subsequently combined in a variety of ways. The title refers to distances between musical ideas and/or variants of the same idea, distances which are never extended, long, full or complete, despite what we say or do, but, like distances between people, only partial.

Recording of Francis Dhomont's Mais laisserons-nous mourir, Arianna ? Several polemics imply and articulate the piece. 1) Opposition, between two types of time: "excessive time" (very rich in information, exploding in groups and cells of discrete micro-elements), and "fixed time" (slow and continuous changing frames) 2) Contrasts between mobility "in flight of a fly" (in the range, dynamics, etc.) of the fixed zones with respect to each other - dazzling paths, fractures of the continuum - and the permanence of the voice (the one whose origin remains unequivocal) 3) Dialectic between the increasing precipitation of disruptive events (until the bursting to the 11th minute) and their rapid disappearance to the coda, a kind of anamorphic recovery/response of the slow progression that preceded. 4) Finally, conflict (mortal?) between this "Arianna" which evokes, one suspects, another "lamento" confused with a famous "lasciatemi morire" and the relentless proliferation of an entomological universe. As for the swallowing of the song and its complaint, it is up to everyone to create their own interpretation. Dedicated to Marthe Forget.

Recording of Francis Dhomont's Mais Laisserons Nous Mourir Arianna? performed by soprano, Marthe Forget. Several polemics underlie and articulate the piece: opposition, between two types of time: plethoric time (very rich in information, exploding in groups and cells of discrete micro-elements) and fixed time (frames--slow and continuous evolutions), contrasts between the mobility in flight ((in the range, dynamics, etc.) of areas fixed in relation to each other - lightning paths, fractures of the continuum - and the permanence of the voice (that of which the 'origin remains unequivocal), dialectic between the increasing precipitation of disturbing events (until the explosion around the 11th minute) and their rapid disappearance until the coda, a sort of anamorphic resumption/response of the slow progression which preceded, and finally: conflict (mortal?) Between this Arianna which evokes another lament and confused with a famous lasciatemi morire and the implacable proliferation of an entomological universe.

Recording of Charles Dodge's Cascando -- An Electronic Musicalization of the Radio Play by Samuel Beckett. The original play by Beckett concerns the attempts of the "Voice" to tell a story about a man named Woburn that will satisfy the "Opener," which would allow the "Voice" to remain silent from then on forever. When the "Voice" falters or the "Opener" grows tied of hearing him, music is heard. In Dodge's version the "Opener" is played by Sam Tsoutsouvas and the "Voice" is a computer-synthesized voice based on a reading by Steven Gilborn. The music was realized using the synthetic voice as a model for its pitch and noise events.