Recording of Michel Redolfi's Lune et triangle. Made to lead one's ear in a world of acoustic and psychic duality. Among these dualities, one can perceive separately at the same time or not all the following couples: Concrete / Abstract Far / Near Signal / Noise Anecdotal / Acousmatic Dense / Noisy Pure / Saturated Inside / Outside Tension / Release "Lune et triangle" is the last part of a series of works composed with computer means. Like "Nuit solaire," a digital synthesizer that allowed the integral synthesis of all the physical, temporal and spatial parameters of the work, no studio manipulation was subsequently requested on this synthesis.

Recording of Miloš Petrović's Study.

Recording of Rolf Enström's Sequence in Blue. The Swedish Radiocorporation made the piece on request. The first part of the piece was originally made to fit a sequence of blue infrared pictures (dark blue night images, hence the name). Enström continued working with the music in order to give it a life of its own without pictures. The different parts are visions of different "imaginary landscapes" or moods.

Recording of Mark Schubert's Goodbye Black. Originally, “Goodbye Black” was to be for percussionist (solo) and tape. However, until I have the percussion part finished I feel the tape can stand alone. It is dedicated to the memory of Henry Black and his unique apartment complex in Iowa City called “Black's Gaslight Village.” - Mark Schubert, composer

Recording of Daniel Arfib's Voyelles d'éveil.

Recording of Hildegard Westerkamp's Fantasie for Horns I. The sound sources for this piece are taken from the acoustic environment. They are: Canadian trainhorns, foghorns from both the Pacific and Atlantic coasts of Canada, factory and boathorns from Vancouver and surroundings-horns that Canadians hear in daily life. Additional sound sources are an alphorn and a creek. Listening to the various horns in the collection intrigues the listener because of the way their sounds are shaped and modulated by the surrounding landscape. Some horns echo only once, others many times, their sounds slowly fading into the distance. One foghorn has an echo that is an octave lower than the actual sound, another is an octave higher. A trainhorn's echo is half a tone lower as the train approaches, but the same pitch as it passes. Each horn acquires its unique sound from the landscape it inhabits. This strong interaction between these sounds and their environment gave the inspiration to work with this material. Horn sounds are interesting for another reason: they rise above any ambience, even that of large cities. They are soundmarks that give a place its character and give, often subliminally, a "sense of place." Fantasie for Horns I …

Recording of David Keane's In Memoriam: Hugh le Caine. Hugh le Caine (born in 1914) died in the summer of 1977 after a life devoted to the world of music. He is perhaps best known for his inventions in the field of electronic music such as touch keyboards, spectograms, serial structure generator, multiplier (play-back equipment), polyphone. He is also important for his works, his assistance in establishing the first electronic music studios in Canada (at the University of Toronto in 1959 and at McGill University in 1964) and certainly for his vast knowledge in many disciplines and his generosity to share this knowledge, accompanied by encouragement, with the many composers who were in contact with him. "In Memoriam: Hugh le Caine" is dedicated in recognition by a composer indebted to Doctor le Caine. This work is derived from two extracts of "Dripsody" from le Caine (1955).