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 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 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 Bernard Gagnon's Dictée for tape. The majority of the material was executed in real time. The instruments used are voice, a pencil, and also a few oscillator sounds. An oscillator provided a wave that was delayed by tape, and then turned into a voltage to modulate the early sound: a self-modulating delay loop. The piece is a reflection on the anxiety of first learning to write as well as on the degrees of the distances of the writing. The dictation comes from a loudspeaker, while the writer's reactions and his perception of the loudspeaker are captured on the other channel using a microphone. We hear in succession and by degrees of writing: 1. The dictation only. 2. The presence of someone who listens. This presence is signaled by a microphone feedback on the other channel and then a cough. It is good here to specify that the feedback effects are voluntary and controlled. 3. The message changes channel because it becomes the pencil noise of the writer. 4. The transformations that the message undergoes as well as the act of writing of the character who, one realizes, dictates himself. 5. Echoes of his reactions, a kind of subjective …

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 Takehisa Kosugi's The fly for tape.

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