Recording of Hildegard Westerkamp's A Walk through the City performed by Norbert Ruebsaat, speaker. The piece is for two electroacoustic sound tracks. The poetry was written by Norbert Ruebsaat. the piece is an urban environmental composition based on Ruebsaat's poem. It takes the listener into a specific urban location - Vancouver B.C.'s Skid Row area - with its sounds and languages. Traffic, carhorns, breaks, sirens, aircraft, construction, pinball machines, the throb of trains, human voices, and poetry are its "musical instruments." These sounds are used partly as they occur in reality and partly as sound objects altered in the studio. A continuous flux is created between the real and imaginary soundscapes, between recognizable and transformed places, between reality and composition. The poem is spoken by the author and appears throughout the piece, symbolizing the human presence in the urban soundscape. Its voice interacts with, comments on, dramatizes, struggles with the sounds and other voices it encounters in the piece. "A Walk Through the City" was composed at the Sonic Research Studio at Simon Fraser University and, in its final stage, at the CBC studios in Vancouver, with the technical assistance of Gary Heald. Many of the sounds were taken from …

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 Ivan Patachich's Ludi Spaziali for piano and tape performed by Erzsébet Tusa (piano) and sound engineered by Peter Winkler at the studio of the Hungarian Radio. The purpose of the piece was to widen the sound and technical possibilities of the piano through means of electro-acoustics by modulations of piano sounds and by synthetic sounds and spatial movements.

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 Arthur Kreiger's "Variations on a theme by Davidovsky" for tape. It uses the first 10 measures of Nario Davidovsky's "Synchronisms no. 6 for piano and electronic sounds" (1970) as a thematic subject. The theme appears orchestrated for tape alone approximately 45 seconds into the composition. It is preceded by a short introduction and is followed by a series of variations. These variations differ widely and explore an extensive palette of electronic sounds. The present version is a two-track reduction of a four-track original.

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

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 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 Frank Corcoran's "Balthasar's Traum" performed at the Electronic Studio of the Berlin Technical University in close cooperation with Folkmar Hein. The work is based on an idea of a short story by Jorge Luis Borge and the Gospel of St. Mark about Balthasar Espinosa, a man who becomes involved with the Gutres people of Pampa and eventually dies by being hanged on a cross by the same people with whom he was so fascinated. It takes place in the great plains of the Pampa where Baltasar Espinosa is invited to his friend's ranch. To escape the monotony of continuous rain, he begins every night to read aloud to the fascinated Gutres people. They ask for him to reread the Gospel of St. Mark. Mysterious things begin happening during the dark days -- Baltasar cures an animal through 20th century means, something the Gutres have never seen before. The rain eventually stops. That night a virgin Gutre girl visits Baltasar's bed. The next day, he reads the Gospel to the Gutres for the last time. They then ask Baltasar, who is not a believer, if even those who crucified the Savior can receive salvation. They ask for his blessing, …

Recording of Ulrich Suesse's Oboe. There are basically two considerations for the application of tape 2 :1) It can be a source of inspiration during the performance and/or 2) It can be a source for "overloading" the piece, bringing it near the breaking point. Its actual application (or non application) depends on the intention of the performer. An existing version of tape 2 can be used or a new, unique, completely unknown version can be created: a copy of tape 1 is to be used as the source material; it should be spliced apart, rearranged and mixed "BLINDY", yet with respect to the following 6 categories: a) SOUNDLAYERS are superimposed pieces of pieces of tape (dubbing); b) STINGS are anything with crescendo (to be realized at the performance through volume control); c) HIGH NOISES are pieces of tape at doubled, tripled playback speed with or without hiss; d) POINTILLISM is interjecting anything in short attacks (for instance through starting and stopping the tape); e) WAVES are done through various glissando-like speed manipulations; f) LOW NOISES are pieces of tape at lower playback speed with or without reverberation.

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 Bogusław Schäffer's Maa'ts for tape (4-lane). The composition if a collage for voices and electronics. The choir sings in harmonically exact microcompositions.The piece was produced in February 1981 in the studio of the Technical University Berlin.

Recording of Zoltán Pongrácz's Madrigal for tape. The aim of the composer was to create a madrigal, one of the most aristocratic of the choral genres of the Renaissance, through electronic means. He uses the characteristics of the Italian madrigal as an element of the musical color to create effects of the Gothic choral music. The raw material is based only on the recitation of the sonnet, as well as on sounds sung at various frequencies by the choir. Pongrácz also calls this work a concerto, but not in the traditional understanding of the genre, particularly in the case of the conception and the formal structure; he calls it such because of the contrast between the cymbalum and the spectra of the oscillators. Madrigal was realized at the Studio for Electronic Music of the Hungarian Radio in Budapest.

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.

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 Åke Parmerud's "Out of sight." Originally composed as part of a multimedia work (The Flood Glass), this version is the independent concert version. The main purpose of this piece is to explore the borders of sound-synthesis using only single-FM technique.

Recording of Stephen Perry's Voices from Purgatory. The work is an amalgam of a variety of treatments of the human voice. In particular, extensive use is made of layered montages of material generated by means of the voltage controlled filter. Stephen Perry is also a graduate of Queen's University in Electrical Engineering.

Recording of Peter Wessing's 8 Deutsche Tanze.

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

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 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 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.

This work is performed on the Fairlight CMI with the output first processed by a Lexicon PCM 70 MIDI-controlled digital effects processor then by a Lexicon 224XL digital reverberator. The PCM 70 is in a "resonant chord" program, the 224XL is in a concert hall simulation program. With the exception of the glockenspiel, all of the fairlight sounds were created by extensive vertical layering of complex sampled sounds. These sounds, often as many as ten layers of orchestras, electric guitars, choruses, etc., were the first material for the thinning process of the PCM 70 resonances. The six resonances are all controlled by one MIDI controller which has a different scaling factor (degree of effect) for each one's pitch center. As a result, changes in the overall pitch area of the processor also change pitch relationships of the resonances. The sounds alternate between processed and unprocessed, with the glockenspiel usually acting as a signal of impending change or return to the melodic theme.