Recording of Xavier Garcia's "Pourquoi t'as jeté ta pantoufle?" ("Why did you throw your slipper?"). Garcia asks the listener to do two things when listening to the piece: to pervert your listening and to find drama where there is none. To is done through both concrete listening (identifying the surrounding sound world, hearing external noise and understanding the "clues" -- this sound is read as the index of a causality.) and abstract "reduced" listening (listening to the thing for itself, detached from its causal context -- a sounds characteristics, height, dynamics, articulations). Therefore, in the piece there is always a constant misunderstanding between listening to the counterpoint of different "ways" and listening to a casual reference anecdote. In addition, the ambiguity lies in the fact that the sound data that constitutes the anecdotal reference is also one of the melodic paths of counterpoint. The piece was realized in the G.R.M. studios in February and March 1981.

Recording of Roberto Doati's "Una pulce da sabbia" ("A Sand Flea") for tape. This work utilizes a timbre space built on three dimensions: spectral energy distribution, spectral fluctuation, and high frequency energy which precedes the full attack of the tone. The sound synthesis models used are simple waveshaping and FM. The overall structure of the composition is generated by the projection on a two-dimensional space with frequency as the ordinate and time as the abscisa, of an architectural structure plan. Doati achieved the desired temporal extension by means of the ‘slowing perspective’ technique. As regards the choice and the treatment of the macrostructure and its internal organization, they depend exclusively on the compositional parameters: symmetry, regularity, direction, velocity, focus and flight point (terms borrowed from the visual arts world). The internal temporal organization of the polyphonic rhythmic structures that make up the macrostructure is given by the position of the focus. This one is determined too by the parameters above mentioned. Each structure takes the timbre that occupies the corresponding position in the timbre space. It was realized at the facilities of the Centro di Sonologia Computazionale at the University of Padova.

Recording of Martin Sierek's Quadratwellenklangwurst. The piece is based on micro-intervals through the use of square-wave oscillations. These exact intervals were only achievable with a digital rectangle generator. In the composition, the higher pitched parts of the two harmonies are fed to the cohesive basic tones and a whole sound becomes a glittering sound spectacle. The intervals and the number of individual rectangles constantly increase during the composition and generate acoustic phenomena and end in a cluster. The only "ordinary" intervals, a big second after and then a minor third, are just decoration.

Recording of Satoshi Sumitani's Quark-G.

Recording of Satoshi Sumitani's Quark R.

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

Recording of Patrick Fleury's Reflux. This piece was completely generated on the New England Digital System at Marseilles. Then, the composer transformed all the basic materials in the analogy-mixing studio at IPEM de Gent. Studio of realisation: Groupe de Musique Experimentale de Marseille for the generation on New England Digital System. Institute voor Psychoacustica en Elektronische Musiek for all treatments and mixing.

Recording of László Dubrovay's Reszere for percussion and tape.

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 Jon Appleton's Sashasonjon for synthesizer. In memorium Alexander Walden (26 December 1896-4 February 1981).

Recording of Stephen Montague's Scythia for electronic tape. Scythia was a region of Central Eurasia in classical antiquity encompassing parts of Eastern Europe east of the Vistula River and Central Asia, with the eastern edges of the region vaguely defined by the Greeks. It was thought of as the great land of education. It was also the place where Prometheus gave fire to man and where he was confined to be tortured by the gods for this. Every day an eagle came and tore out his liver and every day he endured.

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 terms to describe the way people give up …

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 Jacqueline Ozanne's "Son recif" for voice and tape. This piece comes from a work on the myth of the sirens and includes texts written on this theme in their original languages. As the singer/speaker repeats the story, it is crossed by the sounds of these languages, by songs that cannot continue, as well as successive states of emotion. The electroacoustic tape plays a constant dramatic role: sometimes worrisome, sometimes reassuring, sometimes enveloping presences, it continually influences the interpreter in their vocal and dramatic production. The performance includes a video projection.

Recording of Jan Oleszkowicz's Spasme for tape.

Recording of Robert Rowe's "Spattering... A Shower." This piece of computer music focuses on the organization of sound and the process of adopting the medium of a digital computer to produce music compositions.

Recording of Jarmo Sermilä's "St Henry's Tribe Memorial Anthem" for tape.

Recording of Thierry Lancino's Static arches. The inspiration for this piece dates back to June 1980 when Lancino first crossed the desert in Utah, particularly the Arches National Monument which is an infinite space of massive stone arches carved over time. Apart form the visual connotation, principles of intertwined independent arches is applied to the architecture of the piece itself, as well as tho the "filling" of the quadraphonic space, this helping the appearance of sonic sound holograms. The piece was entirely computer generated. The "Foonly" computer was in interface with a synthesizer-processor in real time called the Samson Box, a prototype which was designed and built by Peter Samson at System concepts in San Franscico. The method of synthesis is the frequency modulation of John Chowning. The compositional algorithms were developed thanks to Bill Schottstaedt's "Pla" program. Static arches was realized in the studios of Computer Center for Research in Music and Acoustics (CCRMA) at Stanford University, California, from November 1980 to March 1981.

Recording of Fernando Condon-Garcia's Suiana Wanka for tape. This work collects and develops independently the materials of a music scene for Peter Shafer work "The Royal Hunt of the Sun". It is based exclusively on sound recordings of various Latin American instruments such as the Indian flute, pincuyos, sicus, tarkas, mohecenos, various kinds of percussion, etc., to which are added, during some passages, instruments from European culture (organ, flute, bass). The original sound was made in a professional studio, and the final realization was made in ELAC, a small Montevideo studio, with the technical assistance of Carlos Da Silveira.

Recording of Henry Kucharzyk's Targeting for tape. The piece is based on the composers personal observations of the presidential campaign.

Recording of Elżbieta Sikora's La Tête d'Orphée II. the piece is based on the story of Orpheus returning from hell to find Euridice. Commissioned by the Experimental Studio at the Polish Radio in Warsaw in 1981 and was composed in the same studio with the technical collaboration of Barbara Okon-Makowska. It was premiered during the "Warsaw Autumn" festival in September 1981.

Recording of Hiroaki Minami's Thrène.

Looking for the fusion between the path and the band "le Tombeau de W.Byrd" attempts to contrast the instrumental character of Byrd's pieces with the various identities of electroacoustic music. Thus, the two writings do not meet, they coexist: one is a point of definition of the other, one is necessary for the existence of the other. Separated by small harpsichord pieces from William Byrd's "Battle", five electroacoustic sequences offer a journey into the world of loop music. Would "Tombeau de William Byrd" not be the opposite of mixed music?

Recording of Rodolfo Caesar's Tremola impressao. This piece is a mix of disparate languages: instrumental music, sounds of nature and electroacoustic music, resulting in a different kind of electroacoustic music. The material originates from earlier works, not always Caesar's, but manipulated to make it different. He tried to make useful the sounds that were condemned trash; without any comparison with "Fontana Mix" by John Cage