Recording of Bohdan Mazurek's 6 electronic preludes for tape.

Recording of Peter Wessing's 8 Deutsche Tanze.

Recording of Þorsteinn Hauksson's Are we? performed by Ensemble Intercontemporain under the direction of Fabrice Pierre. The piece if for two trumpets, two trombones, two percussionists, and tape. The message of the piece of music is unstated by the composer, but he says "music of the Muses can express it in a much clearer way" than spoken or written words.

Recording of Bertand Dubedout's "Aux lampions" ("To the lanterns"). Lampions are small oil lamps, formerly popular as a carriage light. It is a concrete piece in three movements: "Bal convexe" ("Convex ball"), "Le cocher" ("The coachman"), and "Sous les planches" ("Under the boards"). For writers like Bulgakov, Gogol, and Chekhov, the ball scene is often a story of action, tragedy, or desperation; the ball can ruin an existence or bring hope. Delight, delusion, and loneliness are the multiple stigmata of the ball. The sound materials of the piece are all concrete sounds that are based on reality. The sound forms escape any precedence, combining to create images of incongruous weddings like in an agitated dream.

Recording of Miloš Petrović's Aw/wW ("Anton with-without Webern") for tape, interpreted by Ruža Petrović, Paul Pignon, and Miloš Petrović. Petrović uses the sound and structure in Anton Webern's works as a way of broadening the sound media in his own work. He places this work in a space defined by primal elements of different media, which allows for a greater number of operations on the speech-gesture relationship, while contributing to the cohesiveness of the result. Magnetic tape-transfected parts of Webern's composition, purely electroacoustic segments and short quotes from the composer's work. The tape was made in the electronic studio pf Belgrade Radio-Television. The work was written and presented first in 1981.

Recording of Clifford Taylor's "Blendings" performed by Clifford Taylor, clarinet. The piece focuses primarily on combining various registral sounds of the clarinet with synthesized sounds of a variety of timbres.

Recording of Gabriel Poulard's Blueberry for tape. The title refers to the name of a cartoon character. The piece was realized at Groupe de Musique Expérimentale de Bourges (GMEB).

Recording of Ricardo Mandolini's Cancion de Madera y Agua. This is an electroacoustic piece that was created with concrete sound materials. These materials include water and wood which are represented by means of two different musical propositions.

A recording of Maggi Payne's Circular Motions. Circular Motions was composed using a Moog III synthesizer and multi-track recording studio. Major concerns deal with spatial location and complex timbral changes. The video was created in real time utilizing a digital frame storage video system designed and built by video artist Ed Tannenbaum as well as and a Fairlight video processor. Reflective tape was used on a variety of objects which the composer choreographed, as well as fireworks and other light emitting objects. The composer intercut several takes to provide the final version.

Recording of Michael McNabb's City of Reflexion.

Clair-Obscur, commissioned by the Musical Research Group, was composed in 1981-1982. The title refers to the chiaroscuro found in Rembrandt's works: the play of light and shadows that suggests a quasi-autonomous life on the surface of these paintings. In the composition, we find this game, realized in the sound matter, on the surface of which there are perpetual changes of nuances, colors and rhythm. Throughout today's western idiom and the technical means employed, we can hear distant echoes of certain popular music without being able to locate them. Thus very old and very current sources are integrated in a new sound world.

Recording of Philippe Menard's Conte à Niro II.

Recording of Werner Kaegi's Conversations: Partie 2: Automne.

Recording of Simo Lazarov's Couches 7s. This piece uses 7 different layers of sound mixed to create a musical picture of Bulgarian folklore.

Recording Theresa Rampazzi's Danza Seconda.

Recording of Peter Plompen's "The difference between a bird" for tape. The piece consists of three parts. The first part was created with a electronic music system. The second part is made with a piano and two microphones. The third part is made with an electronic music system, a piano and a microphone.

A recording of Barry Truax's East Wind for amplified recorder and four soundtracks. This work creates an intimate relation between the soloist, who performs on both alto and tenor recorder, and the tape, whose sounds are entirely derived from the modern and Renaissance soprano, alto, tenor, and contrabass recorders. The transformed sounds on tape create a "larger than life" image of the recorder through its harmonic drones, its extensions of human breath, its pipe-like resonances and percussive transients, and moreover, through reference to its history of creating melody in the various related instruments that are found in many cultures. The live part interacts closely with the tape environment, mimicking it, commenting on it, riding its waves, and in the end, restraining it, as suggested by the I Ching hexagram Number 9, The Taming Power of the Small. Rain clouds in China, observes the I Ching, are brought by the east wind; it condenses water vapor into clouds, but in this case is not strong enough to create rain. The work is dedicated to Peter Hannan who commissioned it with the aid of the Canada Council. The tape part was realized in the Sonic Research Studio at Simon Fraser University, and …

Recording of Coriún Aharonián's "Esos silencios" ("Those silences"). "Esos silencios" are the silences of our daily vital experience of the seventies in almost all Latin America. "We do not desire them, but they surround us always, until we finally succeed in breaking them," Aharonián wrote. It exclusively uses materials of microphonic origin. Some of the sounds have been made with instruments constructed in Guatemala by Joaqu’n Orellana. The decision to bring to life the piece at that historic moment was convergent with the emotional experience that the pricking edges of the delicate drawings by the Argentinian-Uruguayan Mar’a Carmen Portela and the gagged yell of the dramatic paintings by the Uruguayan Hilda Lopez. In Esos silencios there is a will to establish large, apparently static, areas, with latent tensions, in a structure of full hard edges, almost without the concession of transitions.The piece was originally composed in 1978 and was revised in 1981. It was realized in Elac, the studio of Montevideo. The materials of departure have been produced by the author

Spaces first, they coexist, they pass from one to the other, mix, then, a break, the dimension is different: we have entered the micromonds of the sound that develop, as if the spaces had become immense -

Music for a fantastic choreography of black holes. Here are its parts: dancing black holes play the mirliton, the trumpet and the jew's harp; devouring black holes forge protons; vociferous black holes engulf birds and animals; black flutes fill the cold holes with blood; proton saws trump water; fluttering forges arouse black voices.

Recording of Durand Begault's Funny Death. "The composition invites the listener to consider the movement of sounds and the synthetic space which they move through. Funny Death should be listened to in darkness so that concentration of the movement may be facilitated." - Durand Begault

Recording of Yves Daoust's La gamme. This is a work for electronics.

Recording of Daniel Arfib's "L'imminence de la lumière" ("The imminence of light"). It is one of the several pieces of computer music Arfib created as a researcher and composer.

Recording of Ákos Rozman's Impulsioni I-IV. Impulsioni I-III was realized at the electronic music studio EMS in Stockholm. The three etudes are built on synthetic sound material. There is a strong influence from The Basilica di san Clemente in Rome and a sense of Good and Evil, a theme that was to remain important all through Rózmann’s life. In 1981, he made Impulsioni I-IV adding on a fourth part containing sounds from sparrows, among other things.