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.

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

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.

Recording of Pär Lindgren's Rummet. This piece is for electronics. The sounds are pre-recorded sound which have been manipulated and usually are present in communicative patterns. There is a constant sound happening in the background which acts like a drone and develops an eerie familiarity.

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 of Nicolae Brînduș's Kitsch_N for clarinet, saxophones, Hungarian folk instruments, and tape. It is an instrumental theatre subscribed to the preoccupation of the author with controlling randomness in a musical action where the sound, attitude and stage gestures are structurally corroborated widening the domain of the performance. It is the second piece of a cycle named Vagues where the author develops similar stochastic principles of composition.

Recording of Nicolae Brînduș's Match - Monody I & Polyphony IV. It is a version dedicated to the Ensemble "Ars Nova" from Cluj Ð Romanian and based on collages of traditional folk dances from Romania's northern area of Maramures and ancestral laments from the regions of Banat and Oltenia. The final tape was re-positioned in the frame of the performers' controlled improvisation live which follows the same principles of composition. It became a sort of an ancestral memento to the momentary performing act. The music on the tape evolves from the natural sound of the folkloric sources, quoted as such, to its multiple subsequent electronic transformations, coming back to the same folkloric quotes in their natural sound at the end. All the process of transformations represent the pulsing and not pulsing metric type of musical activity (tempo strie and tempo lisse so as described by Pierre Boulez).

Recording of Denis Smalley's Vortex. "Vortex" centers primarily on the types of sound movements that suggest analogies and swirling images, sound objects, textures, and rapidly moving patches of sound, often around an axis. Such movements can evolve in a variety of directions: we can let them hover or play them. They may have a combined action or follow each other or be swallowed up by events of greater force. The sound events of various attacks, sizes and orchestrations give vocal points to the movement. They signal climates, initiate changes of direction or change of quality by evolving in their movement. Commissioned by Tim Souster with the help of the Art Council of Great Britain.

Recording of Michael Mac Nabb's Love in the Asylum. Love in the Asylum is a love song to the calculated insanity and spontaneous magic that one must sometimes call upon in order to live in this strange universe of ours. It features an orchestra of familiar instrumental and vocal sounds, new sounds drawn from the imagination, and---perhaps most expressively---sounds that fluidly shift between the two. The work is built of two psychological layers. Foremost is a layer of cheerful confidence and exuberance, colored and occasionally overpowered by a dark emotional undercurrent of anxiety and psychological imbalance. All sounds in Love in the Asylum were synthesized except for the laughter and the player calliope music. It includes a number of musical quotations, including quotations from other works of electroacoustic music. The spatial sound paths at the beginning of the first movement are from Turenas (1972) by John Chowning, who was a primary mentor, and influenced McNabb's decision to specialize in electroacoustic music and performance.

Recording of Daniel Steven Crafts Snake Oil Symphony. The Snake Oil Symphony (a metaphor for capitalist social relations), was composed in 1981. The first three "movements" of the Symphony establish the basic themes, along with an underlying rhythmic structure that crops up again and again throughout, as the tempo and pitch of phrases are used to create a sort of melody. Part One presents the surface reality of society as an endless movement of buying and selling, through the use of clips from a sales instruction talk, ads and so on. Woven through this is an ironic verbal-musical motif: "Now you can have this amazing new symphony, right in your own home," (which parodies cheap TV commercials), with piano notes underscoring the spoken pitches. The word "symphony" refers not only to a single work of art, but in the greater sense to "a mighty symphony of prosperity" (i.e. present social and cultural institutions). With the same phrase the composer is also letting the listener know that he knows his own work, too, is a commodity on the culture market. Part Two is built around a multiple pun on the words "alien" and "alienation." "Alienation" originally meant "sale." Marx used the …

Recording of Satoshi Sumitani's Quark-G.

A recording of John Celona's Music in Circular Motions. "Music in circular motions" was produced using DISTRA, a real-time polyphonic 4-channel spatial movement computer performance program created by the composer for a New England Digital Synthesizer at the University of Victoria, British Columbia. The control language for DISREA is called "Moxie, written by Doug Collinge, and is a set of XPL procedures which deal with events in real-time. In DISTRA, the composer uses a keyboard and CRT terminal through which programmable controls are utilized during composing and performing. Pitch (available in equal - and 31- tone temperament as well as just intonation) is input through the keyboard and orchestrated in real-time with varieties and variations of spatial movement, multi-segment envelopes, wave shaping FM, volume controls, filter effects, delays, and tempo changes. In addition, several automated routines are available procuring program switching of spatial distribution patterns, volume cycles, sequential execution of envelop arrays, modulation ration and index arrangements, Changes may be input on a micro-level (e.g., replacing c:m rations or selecting new envelopes during ongoing sound events) or on a macro-level where larger compositional contexts are manipulated. Thus, the composer operates synchronously on three interactive levels: performer (playing instruments-conductor (shaping and …

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.

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 Gary Lee Nelson's Phrase Structure Seven. The work was created using formalized compositional procedures. These algorithms were expressed as computer programs written in APL and MPL (Musical Program Library). The focus in this piece is on techniques for producing directed movement in a synthetic medium. The tonal and rhythmic materials were generated by an APL program which controls interval sequences. The production rules for intervals were concerned with stylistic coherence. Intervals were limited to small vocabularies. Global aspects of structure were governed by "conductor functions". These line graphs were used to regulate the temporal unfolding unfolding dynamics, timbre, melodic contour, textural density, spatial location, and tempo/rubato in each phrase. In Melbourne Australia, the work was done on an Interdata 3042 computer running the UNIX operating system. APL and MPL were implemented interpretively using a program written in C. The sound synthesis was carried out with MUSIC 5. The interface between MPL and MUSIC 5 was via notecard images.

Recording Theresa Rampazzi's Danza Seconda.

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 Satoshi Sumitani's Quark R.

Recording of Michael Mac Nabb's Love in the Asylum. Love in the Asylum is a love song to the calculated insanity and spontaneous magic that one must sometimes call upon in order to live in this strange universe of ours. It features an orchestra of familiar instrumental and vocal sounds, new sounds drawn from the imagination, and---perhaps most expressively---sounds that fluidly shift between the two. The work, which critic Paul Lehrman called "one of the most devastatingly beautiful pieces of electronic music I have ever heard", is built of two psychological layers. Foremost is a layer of cheerful confidence and exuberance, colored and occasionally overpowered by a dark emotional undercurrent of anxiety and psychological imbalance. All sounds in Love in the Asylum were synthesized except for the laughter and the player calliope music. It includes a number of musical quotations, including quotations from other works of electroacoustic music. The spatial sound paths at the beginning of the first movement are from Turenas (1972) by John Chowning, who was a primary mentor, and influenced McNabb's decision to specialize in electroacoustic music and performance.

Recording of Hiroaki Minami's Thrène.

Recording of Jonathan Harvey's Mortuos Plango, Vivos Voco, for electroacoustic sounds processed by computer. The piece was created at the IRCAM. This piece relates to his experiences at the Winchester Cathedral and based on the tenor bell there with the incription "Horas avolantes numero mortuos plango: vivos ad preces voco." This text is echoed by the voice of the young boy. The pitch and the temporal structure of the piece is entirely based on the very rich and harmonically irregular spectrum of the bell, structure which is neither tonal, nor dodecaphonic, nor modal in the manner Western or Eastern, but was completely unique. The eight sections of the piece represent each of the lowest principal partials.

Recording of Satoshi Sumitani's Quark-W, created in the Studio ETSM of Tokyo in December 1980.

Recording of Claude Fatus's Voyager. Using the possibilities of the MIDIM7 system, this realization highlights two classes of sounds that are different in nature: those of the vowel type (simple relation between harmonic partials) and those of the fricative type (complex relation). Use is made of the difference in amplitude and phase as well as the reverberation on identical signals to create a different displacement and localization of the sound event in the speaker space. The whole piece is articulated on the juxtaposition of 5 VOSIM queues of increasing duration which, each, generates 3 other queues at different synchronization.

Recording of Maggi Payne's Ling, st/quad with photomicrographic slides. Major concerns of the work are spatial location and modulation and timbral complexity. Processes involved include extensive multi-tracking in order to build up textures, and to keep four tracks consistently separated throughout the process of composing. By pre-mixing and relaying of pre-mixed tracks I frequently use up to thirty-six tracks, finally mixing down in both quad and stereo formats. Ling was composed using the Moog III synthesizer and a set of very sharp resonant seismology filters made by Ling.