Recording of Jonty Harrison's Klang realized in the Electronic Music Studio of Magyar Radio in Budapest during September 1982. It features the sound of earthenware casseroles and electro-acoustic techniques.

Recording of Mauro Graziani's Landing. It uses computer both in composition and sound synthesis. Other programs used in composition include ALGEN and MUSIC360 program. Landing was realized at the :Centro di Sonologia Computazionale" (University of Padova), March to April 1982.

Recording of Alden Jenks's Nagasaki made in the electronic music studio of the San Francisco Conservatory of Music. Both electronic and non-electronic sounds were used (of the latter the human voice and music of the Japanese court, "gagaku", figure prominently). The human voice appears to be electronically generated, or electronic sounds appear to be gagaku instruments, singing voices, or a percussion ensemble. The words used are those of Fujio Tsujimoto at the age of five, of Nagasaki; on the tape they are spoken by the Japanese violinist Mayumi Ohira.

Recording of Ton Bruynèl's radio composition on the theme of "Le Petit Prince" by Antoine de Saint-Exupéry, "Adieu petit prince." The text of the composition is partly taken from a critical analysis of the children's book entitled "Fantaisie et mystique dans le Petit Prince" by Yves le Hir. The piece was commissioned by the Netherlands Broadcasting Foundation.

Recording of Iván Patachich's Alterego per percussioni solo e nastro. This piece wants to use the possibilities of electroacoustic modulation in the field of percussion instruments. The score of the composition consists of four parts noted in a traditional way. The second, third and fourth parts are transformed by electroacoustic means, the first part remains without any modulation. The piece consists of short sections. During these sections, free rhythms alternate. The composition has a bridge shape, culminating at the end of the fifth section. The main modulations are: filtering with control voltage, feedback, transposition, spatialization, etc.

Recording of Iván Patachich's Alterego per Percussioni Solo e Nastro. This piece wants to use the possibilities of electroacoustic modulation in the field of percussion instruments. The score of the composition consists of four parts noted in a traditional way. The second, third and fourth part are transformed by electroacoustic means, the first part remains without any modulation. The room is made up of short sections. During these sections, free rhythms alternate. The composition has a bridge shape, its climax is at the end of the fifth section. The main modulations are: filtering with controlled voltage, re-injection, transposition, spatialization, etc.

Recording of Patrick Lenfant's Alternances. Alternances explores a different aspect of other synthesizer pieces that I have previously composed. The synthesizer is used here as a generator of as varied an electronic material as possible. This material and its temporal articulation, instead of being definitively fixed on a magnetic support, will evolve according to the instrumentalist. Indeed, this one has two control pedals, piloting the synthesizer and allowing it to make coincide its playing and its musical time with the variations of the electronic material which it controls completely. Alternatively, the synth will generate pure electronic material, or the flute will interfere with it either by modifying it or by triggering it. Instrumentally, many game modes are put into action. The flute player alternates these precisely in relation to the score. The spirit of this piece is that of a "fantasy" creating ranges free of improvisation, in a way testing the flexibility of the electronic variations that can be obtained from a device that is not in the strict of the term an "instrument", but which can become so if one imagines the means to control it, to "sensitize" it to instrumental playing.

The composition is a meditative work based on the cantability of basic instrumental materials - fragments of melodic and harmonic structures of a cello part - transformed by the vocoder, the digital sound processor, the equalizer and so on. It clearly shows the author's desire to establish a relationship between these "thematic materials" ostentatious timpani and dynamising structures synthetically created.

Recording of Trevor Wishart's Anna's Magic Garden. It is an impressionist work that attempts to recreate the agitation of the world from the view of a three-year-old child. The voice is that of his daughter, Anne Ruth. The piece contains sounds both concrete and synthesized. Recorded over five weeks in the studios of San José State University and University of Texas, Austin.

A recording of Chiaki Takatsuki's Aya. Waves of electronic sound twisted like threads are twisted little by little. First, a dynamic scene, making use of the revolving sound image. At the end, space of tranquility. A gyrating sound was made from the original circuit, based on two controlled amplifiers (voltage). One can find a circular sound not a circumference but in front of or behind the audience.

Recording of Ake Andersson's Brown Autumn.

This piece was composed in 1982 with a Buchla 200 analog system and with a multi-track mix to produce a basic texture. A byte of curly bands with soprano voices was assembled and subsequently played by the computer using a keyboard. This gave linear and pointillistic contrasts with the harsh sounds electronically.

Recording of Tera De Marez Oyen's Charon's gift. For piano and tape.

Recording of Ricardo Mandolini's "Circulos Fosforescentes en fondo negro" ("Phosphorescent circles on a black background). The piece results from a numerical ideology of probability and determination because of the program used to create it. The title refers to the number of quadraphonic space moves that occur in the piece. It was composed in 1982 at Studio EMS in Stockholm, Sweden. The piece received a Honorary Mention from the Electroacoustic Music Festival Luigi Russolo in Varese, Italy in 1982.

Recording of Floris van Manen's "Clair de lune artificiel" ("Artificial moonlight"). It is music of silence, space and time. The transparency of the texture could be associated with the monochrome blue color. Van Manen used a hybrid system to create the piece, using a combination of analog and digital techniques. It consists of three superimposed layers, each having a number of resonance points in the sound spectrum whose total energy remains equal, but which continually change place and intensity, while seeking a balance within the spectrum. Towards the end of the piece, a new element is introduced.

Clepsydra is part of this vast acousmatic fresco made of steps forward and back on the first works. Composed in this last idea, this piece is the second movement of the 1st Grimoire of the "acoustic illusion", not created until tonight, devoted to the element water. The 2nd Grimoire (1982) was born before the complete creation of the 1st Grimoire. The first purification of the material therefore took place before the shaping of the initial material. However, thanks to the evolution of the experience, I wondered about the stability of my basic building and I got a clearer idea about this project. These reflections have actively served me in the development of Clepsydra. Around the "Athanor", the "Vulcan Forge" and the "Blue Corps of the Night", Clepsydre closes "perhaps" the 1st Grimoire, presenting the philiphaly houses of the acousmatic creation. This is how this work is woven with a number of natural atmospheres evoking a cloister in the rain and sounds created in the studio.

This concertino was commissioned by Belgrade Radio and was also composed in Belgrade and is dedicated to Paul Pignon. The saxophone part at the beginning of the piece is composed quite precisely which means that we have to play everything as if it's written down. Later the sound material becomes only half sketched in note which will mean that the performer will have to rhythm, phrase and modulate dynamically. In the end there is only a text program, which is necessary, what can happen eventually and what is forbidden. With the help of which the performer must achieve a freely improvised rhythm and virtuosity. The sound material that on the tape an electronic accompaniment was produced with 10 oscillators and 45 clarinet sounds, its various groups at once together were modulated in different ways with many electronic means.

Recording of Werner Kaegi's Conversations: Partie 1: In Memoriam.

Recording of Werner Kaegi's Conversations: Partie 3: Vers d'autres jeux.

Recording of Alain Marchal's DM VS Metal. This piece is divided into 3 long parts of 4, 6 and a half and a half minute(s), connected without silence. It brings together percussion elements from different species, played and worked in time: a) a series of objects that do not belong to the violin making (plates, tubes, metal plates), b) a Jazz drums, c) metal instruments from groups a- and b- played and manipulated in the studio at the same time. This first part starts ppp and quickly reaches fff. The second part is composed of a metal percussion with very long resonance and treated in perpetual glissandi. The dynamics are variable. After a final f when we hear the small percussion in its initial state, the percussion of a- and b- of the first part return ffff.

Recording of Barton Mac Lean's The Electric Sinfonia. Sound Sources come from a string orchestra and the music for a chamber piano. The basic instrument used is the "FCMI." The expressive range of the ideas of the piece are important, raising the range from an extremely violence to an obsessive beauty. The duality of character is the thread of all the work.

The literary material of this piece is composed of Psalm 29 (verse 11) and the last words of the homily of Pope John Paul II of the solemn Mass on the Victory Square in Warsaw in June 1979. In the music the composer benefits greatly from the electronic sounds of the Moog synthesizer. The construction of the Elegy is repetitive and takes the form of the form of litanies. The invocations of the priest according to the composer bear the character of a speech with God. At the same time we pray for peace for the people and for the renovation of the "soul of the earth" - the "Soul of this Earth". All the work is dedicated to the commemoration of dozens of victims of the Polish-Polish war. Under this term one understands the repressions, sometimes mortal, which affected the Polish nation on the side of the communist regime since the state of siege (1981) until the end of the Eighties.

Recording of Bohdan Mazurek's Epitaph - to the Victims of Terror. This piece is dedicated to the victims of peaceful demonstrations in the defense of the basic human rights staged by the people on August 31, 1982, in over sixty towns across Poland. Anti-government street demonstrations were organized by Solidarity to commemorate the second anniversary of the Gdańsk Agreement. The bloodiest protest occurred in southwestern Poland, in the town of Lubin, on August 31, 1982. The Lubin demonstration resulted in three protesters killed by Communist services, and an unknown number of wounded.

Recording of Zagorka Zivkovic's Extension 1 created at the Electronic Music Studio in Stockholm. It is the first in a series of works aiming to extend the sound quality of certain live-instruments. This piece focuses on the cello and manipulating the instrument in different ways - from a low degree (transposition) to an extremely high degree (a combination of layerings of loops and permutations through the use of a Buchla synthesizer). These sounds are then juxtaposed with some pieces of the original sound material in order to give depth to the perception of the instrument.