Handwritten cue sheets for Music USA, March-July 1982.

Hour-by-hour breakdown of music played on Music USA, July-October 1982.

Recording of Lars Åkerland's Inout.

Recording of John Celona's Instrument flying performed by percussionist Salvador Ferreras. The piece is based on pentatonic scales. The performer shares the musical material that exists on the tape and plays in and out of phase with the fast, linear and spatially-distributed patterns.

Recordings of Jack East's Interface 3 (the Birds) - a total of five recordings. This piece uses the natural sounds of New Zealand birds, and electronic sounds derived from them. It begins and ends with very active densely textured montage of sound. In between, the sections vary in mood from restful and calm to suspenseful and violent. The interaction of natural sounds and synthesized sounds work in three ways: namely, by combining, by complementing, and by contrasting. Various levels of spatial orientation are explored.

This piece wants to produce, from these well-known instruments, sounds never heard by means of the introduction to micro world of these instruments, by the electroacoustic technique. These new sounds mix with the well-known sounds of these instruments. All three instruments are two complete parts. The first parts of the three instruments must be recorded and modulated. On the occasion of a recital / live performance, this band must play the second part of the third instrument, without any modulation. Among the five mono-thematic movements, there are three cadences for each instrument. The band of the piece was performed in the Hungarian Radio Studios in 1982, with the collaboration of Istvan Horvath sound engineer.

Recording of Tamas Ungvary's Ite Missa est (in memoriam Rudolf Maros). Ite, missa est ("Go, the mass is over") ends the mass in the Catholic liturgy. "Ite, Missa est" is in part based upon gliding sounds. The noted Hungarian composer Rudolf Maros, a good friend of Ungvary, was a remarkable humanist and pedagogue, for many Hungarian composers a father figure in the word's deepest sense. Ungvary began to compose this work during the last period of Maros's life. He died before the piece was able to be presented to him.

Recording of Elzbieta Sikora's Janek Wisniewski. The name of this work comes from the Polish ballade that was written to honor a young worker who was killed by the militia in the 1970's. This work was inspired by the fight for worker and domestic rights during that time.

The work was composed in Stockholm Music College Studio at the end of 1982 in opening of Strindberg's "The Ghost Sonata". (Kama Loka is the unofficial subtitle that Strindberg gave to his work.) One can certainly listen to this work without referring to the piece, but for those who know it, some correspondences are perhaps worthy of interest. The work is conceived as a traditional opening in which the musical material approaches the characters and the events of the piece to the music illustrates a vision of which the student observer has an experience both in the future and in the past (tic-toc clock). He pierces the secrets of the house (percussive attacks, dry and cracking sounds) of betrayal, guilt and evil. He sees the daughter of the house (river of his highs, vulnerable), victim of the game of the Evil One, defenseless, frozen in his martyrdom, he sees the old man Hummel (bands of rattling sounds, ticking, penetrating), the vampire and manipulator who devour the heart and the human life, everything leads to the destruction of the house, the disaster during which the student saves a poor child, the vision slowly moves away and melts in a Sunday morning …

Recording of Enrique Macias's Lied für Maria. This piece was created and realized at the Studio de Musique Electronique de l'Academie de Musique of Krakow Poland. This piece is included in a cycle of of three Lieder that the composer wrote in 1982.

Recording of Bohdan Mazurek's "Lieder ohne worte" ("Songs without words") for tape. The piece is dedicated to Anka Kowalska, a woman of letters, co-founder of the Committee of Social-Defense (KOR), activist of the movement "Solidarity." Solidarity was a broad anti-bureaucratic social movement, using the methods of civil resistance to advance the causes of workers' rights and social change. (https://en.wikipedia.org/wiki/Solidarity_(Polish_trade_union)) She was interned on December 13, 1981. In the piece, Mazurek works to translate into music the tragedy of the hour and the age of loneliness.

Recording of Alain Marchal's Los. The sound material includes percussive metal events and often violent, simple chords of three soprano voices. These elements are antagonistic to one another, where the percussive sounds attack, alter and kill the chords sung by the soprano voices. "Los" in German means "foward!" As a suffix, however, it indicated deprivation or absence. L.O.S. are also the initial of the first words of the sentence by Dante at the gates of Hell "Lasciate Ogni Speranza voi ch'entrate" ("Abandon all hope, you who enter").

Recording of André Luc Desjardins's "Manu militari" for tuba and tape.

Recording of Pekka Sirén's Merry-Go-Round for tape. This piece is the final result of Sirén's studies in working time and leisure time acoustic objects in the sonical surroundings. Factory noises are combined with entertainment noises to create an entity in which it would be impossible to distinguish them from each other.

The two-channel realization of this tape piece was created in 1984 in Berlin. The first broadcast took place on October 12, 1985 in the Hungarian Radio. The musical material was produced exclusively by analogue electronic means. On the one hand, the musical form of the piece is the result of a process that results from the variation of twelve different basic sounds with itself. On the other hand, one can clearly see an arc shape, which is created by the contrasting musical character of the middle part compared to the beginning and end part. The strongly noisy basic sounds are identifiable by their identical envelope curve as parts of a unified whole, but differ from each other by different, each for themselves specific sound structures with their own Gestaltqualitäten. The series of twelve basic sounds is traversed a total of 13 times by combining them with their own row structure, each shortened by one sound. Thus, in addition to the standard-setting basic series, a second variant of this series gradually builds up in the course of the piece in order then to build up again from the nucleus of the initial sound. Repetitions of the same sound constellations are thereby …

An attempt to find a new spiritual consciousness. The Grand Patriarch was not interested. Consequently, I dedicate Motet in all his glorious incompetence to the hordes of black stars.

Recording of István Márta's The Museum's Voices, for tape.

Recording of Joseph Davidow's "Music for two violins, percussion and tape." Recorded in 1982.

A report by John Dancy of NBC News about changes and debates within the Voice of America under the Reagan administration. Willis Conover appears from 3:20 to 4:10.

Recording of Roland Yvanez's Neiges.

Recording of Horacio Vaggione's Octuor. Sound material is all computer synthesized. Techniques used include frequency modulation, nonlinear distortion, additive synthesis and wave array synthesis.

Recording of Jukka Tiensuu's P = Pinocchio ? for six interpreters, computer-generated tapes and computer system for real-time compositional processes.

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 Gabor Dárvas' Poèmes électroniques