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 László Király's Adieu a Terez. The sound materials of the composition were comprised of modulate female voice with diverse electronic mediums.

Recording of László Király's Adieu à Terez. “The sound material of the composition is a female voice modulated by various electronic means. The composition consists of 3 parts: 1) The enchantment of Terez, 2) The dream at dawn 3) Farewell The first part is based solely on the modulation of the voice. The beginning of the second part consists of an indiscernible speech and vocal music, which becomes more and more discernible. The third part remains on the contrast of voice and vocal music. For me, the essential was the contrast and the correspondence and the emotional effect the different timbres of sound.” - László Király, composer

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 Barry Truax's Androgyny, a spatial environment with four computer-synthesized soundtracks. The sound construction is based on ideas about an acoustic polarity, namely "harmonic" and "inharmonic," or alternatively, "consonance" and "dissonance." These concepts are not opposed, but instead, are related in ways that show that a continuum exists between them, such as in the middle of the piece when harmonic timbres slowly "pull apart" and become increasingly dissonant at the peak intensity of the work. At that point a deep harmonic 60 Hz drone enters, similar to the opening section, but now reinforced an octave lower, and leads the piece through to a peaceful conclusion. High above the drone are heard inharmonic bell-like timbres which are tuned to the same fundamental pitch as the harmonic drone, a technique used throughout the work with deeper bells. The work is designed to sound different spatially when heard on headphones. Through the use of small binaural time delays, instead of intensity differences, the sounds are localized outside the head when heard through headphones. Various spatial movements can also be detected, such as the circular movement of the drones in the last section of the piece. The work was realized with the composer's …

Recording of Francis John Sacci's Animated Sonic Forms number 3. Animated Sonic Forms number 3 was composed in 3 dimensions. Each tuning fork or timbre is a world apart. One sound created, another was made until two melodies of 12 sounds exist. The accompaniment was made by mixing the sounds heard in the melodies. The melodies are heard in different ways, we use variations, different speeds change the sounds while the melodies are played back and forth. The two little melodies are always played together to form a big line. Throughout the piece, the listener experiences two or three of the great variations of melodies playing simultaneously. An axis of percussive sounds is played during the music.

Recording of Jan W. Morthenson's Attacca.

Recording of Jan W. Morthenson's Attacca.

Recording of Sandra Tjepkema's Aubade.

Recording of Sandra L. Tjepkema's Aubade. This aubade, a serenade whispered into a lover’s ear, just before dawn: It is meant, of course, as a type of erotic poem; but it is not the text alone but the finished product which constitutes the poem. The words (in English) along with complementary phonetic signs and tremulous sighs, seek out the familiar images of love poetry. Phonetic variations on the vocabulary and the breathing of sleeping, dream-talking lovers, the more literal interpretation of such images as tides-on-the-beach, stirring of bedsheets, comforted nightmares, quick leave-fakings, whistling-in-the-dark: these are the elements of this serenade.

Recording of Vladan Radovanović's Audiospacial. In its original form the work envisages a performance space including concert hall, communicating spaces on the same level, and possibly rooms above and below the hall. Both the electronic sounds and treated as sometimes mobile, sometimes stationary sound sources. The choir is required to move about the performance space according to trajectories coordinated with the time evolution of the score. A version for tape alone (and the corresponding score) has also been made. The electronic materiel is built up of sounds which range from autochthonous to quasi-simulation of instruments and voices. On the other hand, the vocal materiel sometimes tends towards an electronic sound. The electronic part was realized by a combination of two procedures. For some sections the score was designed for "instruments" which had already been defined, and was then strictly realized. Other sections were improvised, using the sequencer's digital memory to store the control data, which were subsequently copied into the score. While the openness of the electronic part has been closed by definitive choice of the sound events and their recording on tape, the choir part, in live performance, remains open in some places, where it is left to the …

Recording of Vladan Radovanović's Audiospacial. The electronic material of the piece consists of real or quasi-simulated vocal or instrumental sounds. The vocal material, on the other hand, sometimes tends towards the electronic sound. The electronic part was realized by combining the two processes. For some sections, the score was established and carried out strictly. Others were improvised using the digital memory of the sequencer. If the electronic part is frozen by the choice of the sound events and their recording, the part reserved for the choir remains open in some zones because the interpreters can decide the rhythm and the height. In its original form, the work envisages a performance space including concert hall, communicating spaces on the same level, and possibly rooms above and below the hall. Both the electronic sounds are treated as sometimes mobile, sometimes stationary sound sources. The choir is required to move about the performance space according to trajectories coordinated with the time evolution of the score. A version for tape alone (and the corresponding score) has also been made. The electronic material is built up of sounds that range from autochthonous to quasi-simulation of instruments and voices. On the other hand, the vocal material …

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 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.

Recording of Frank Royon le Mée's Complices, pour in lendemain fête. Extracts from the three big hours of the office for a day-after party. For voice, processing device, magnetic tape, analog synthesizers. The vocal sequences have been elaborated and are sung by the composer. For Complices, techniques used: singing with harmonic (2 voices), Tibetan singing. Complices: made following a study visit during the spring

Recording of Frank Royon Le Mée's Complies, Pour un Lendemain de Fête. Extracts from the three great hours of the office for a day after a holiday. For voice, processing device, tape, analog synthesizers. The vocal sequences have been developed and are sung by the composer. For compline, techniques used, song with harmonic (2 voices), Tibetan song.

Recording of Theresa Rampazzi's Computer Dances. This work is the result of Rampazzi's tone research applied to rhythms at different speeds. The signals at the beginning are slow moving in order to let the transformations of tone modulations to be perceived. Only towards the end the signals become shorter and very articulated; the number of which reach voices or "dancers" superimposed. The work is formed of 6 sections.

Recording of Jarmo Sermilä's Contemplation II for alto saxaphone and pre-recorded electronics. Premiered on 3 July 1979 at Hämeenlinna by Pekka Savijoki.

Recording of Herman Rechberger's Cordamix. In this piece, Rechberger combines musical styles of stringed instruments from a variety of cultures, historical eras, and styles to create a sound palate that jumps to and from audibly different places and times.

Recording of Michel Longtin's Une Croix de Bouleau au Nord.

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.

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 Claude Colon's Diastasis 3.

Recording of Claude Colon's Diastasis 3.