Fantasies for Soprano Saxophone and Tape was written in 1983 for saxophonist Kenneth Fischer. It is dedicated to him and to the memory of Peter Tod Lewis. The music commemorates Lewis' wit and taste for the unexpected. Each movement addresses a different facet of his rich personality. The first movement, "Imminence," is a tongue-in-cheek serial work, involving grotesque tape sounds and robust counterpoint between the tape and the saxophone, resolving to an uncertain and hazy cadence. The second movement, "Remember," is a gentle recollection of Lewis' warmth, punctuated by a cry of grief at the end. The final movement, "Homage (Little Birds)," is a rollicking juxtaposition of the classic and the popular in 20th century music. The lyricism of the saxophone music is violated repeatedly and finally squelched by the tape's jolly violence, spiced by quotations from contemporary rock and roll. With the exceptions of the "rock" quotations, all of the analog tape sounds were created using complex concrete manipulation of loops of gong, cymbal, and almglock attacks. The work was realized in the Electronic Music Studio of the University of Georgia.

Recording of Andréa Libretti's Frammento da "Ho".

Recording of Oriol Graus Ribas' Metanoia.

The title of the work comes from a word Nahuatl which literally means "burning water". Piece quickly explores a sound material frequently associated with maracas, harps, bamboos and a guitar. The live sound of the maracas comes from the traditional rhythmic patterns found in most traditional Latin American music, models that the performer is asked to combine with great dexterity to build wider and very complex rhythmic structures. These rhythmic structures are then confronted with passages of the same complexity on the tape, creating and developing ever more a "star" polyrythm that finally disintegrates. The path is then drawn for a traditional accompaniment game of maracas.

Recording of Denis Lorrain's Les Portes du Sombre Dis. Conceptually, this piece uses a single elementary sound with a symmetrical dynamic envelope. This elementary sound is activated in different duration scales: from a few minutes to a few milliseconds. In exploiting this range of durations, and controlling varied time densities of different sets of elementary sounds, one can cover a domain ranging from long pure sonorities to isolated punctual events, and encompassing more or less rough sounding noises as well as smooth continuous textures. The chronological evolution of the characteristics of the sets of elementary sounds (density, duration, timbre, intensity, pitch, spatialization) is distributed among three asynchronous parallel global cycles: two of minimal contrast, and one of maximal. This cyclical form enforces the freedom of choosing a starting/ending point for each performance of the piece; it also makes it possible, the elementary sound being symmetrical in time, to state "Les Portes du Sombre Dis" in one direction or the other. Computer programs were used in some stages of the compositional processes, to assist in the manipulation of multidimensional graphs and to find solutions to the problem of building cycles of controlled global contrast in such structures. After completion of this …

Recording of Jean-Baptiste Barriere's Chreode I. The title Chreode I serves here as a metaphor for a systematic and intersecting investigation of material and organization. At the same time, it is a generic title for a set of computer works, of which "Chreode I" is the first element. Although the materials are very elaborate, the attention in this piece is more specifically on the organization. This research on musical processes, their fields of action and their limits, was conceived as a strategy for approaching the musical territory, as it is renewed by the possibilities offered by the computer. A very general destination of this project was therefore to experience different types of organizations, and at a higher level to learn how to structure them in time and formally. The compositional structures as well as the scores were developed in the FORMES programming environment with the help of Pierre COINTE and Yves POTARD. The sound materials have been chosen to allow some type of control over the timbre, focused on a small number of very compositionally relevant parameters. Thus the work on the timbre is essentially based on the compression and the expansion of the formants or the spectral envelopes, this …

Recording of Lelio Camilleri's Comeclose and Sleepnow. The piece is made up of six sections. In each section are developed parts of the transformed text and are highlighted sentences or words of the poetry. All the sound material of the piece is composed only by the transformation of the recited text. "Comeclose and Sleepnow" is based on the namesake poetry by R. Mac Gough, recited by Stephen Montagne.

Recording of Maggi Payne's Solar Wind. Solar Wind is an electronic piece based on synthesized audio representations of bow shock interactions of Saturn and Venus with the solar wind as observed by Voyager, Voyager-2 and the Pioneer-Venus Orbiter. The source tape was generously supplied by the project director of the plasma wave instrument, Fred Scarf, of TRW, for NASA. The plasma wave instrument detects phenomena associated with solar wind interactions in space. The instrument, placed aboard this spacecraft, gathers information and analyzes it using a sixteen-channel spectrum analyzer. The data is transmitted to Earth and drives a computer which controls the amplitude of a sixteen-voice music synthesizer. In some bow shock interactions the actual frequencies of the phenomena are replicated; in others, some frequency shifting was necessary. Time compression is set to a 480:1 ratio. The final sequence of the composition uses the source tape with minimal manipulation. The middle section of the piece (bow shock sequence) uses the source tape, but heavily modified. The remaining segments are loosely based on the source tape.

Recording of Joris De Laet's Khene Dimensioned II, composition for tape magnetic in which was used a material sound both concrete and electronic. The sounds recorded come from the "KHAEN", a mouth organ from Asia, especially Laos. The instrument is composed of 16 bamboo pipes. The sounds they produce are rich in harmonics and produce 16 different sounds. The composer had 6 instruments. No two are pitched the same. One of these Khaens was used as the basis for the whole work. The tone of his 16 sounds have been transformed into Herz. From this frequency data, a data matrix and served for the composition of numerical and material ratios for the composition of algorithms and for the control of an analog synthesizer by computer. The dimensions of the intervals of this popular Asian instrument dominate throughout the work for the realization of musical intentions. All the frequencies that are part of the electronic sound components are the same as the basic khaen scale. In this way, dense sound spectra are formed in relation to the internal harmony of the acoustic instrument. There are four parts. Each development is specific and in parametric relation with the intervals of the khaen.

Recording of John Michael Clarke's Soundings. This piece is an exploration of the sonic world of the cello hence the title "Soundings". The title relates to "resonances", the tape being a reflection of what the "live" cello is playing. This is because most tape sounds come from recorded cello sounds that were then processed in an electronic music studio. There are also some computer generated sounds in the middle part.

Recording of Iancu Dumitrescu Motto : Opera Aperta. Ursa Mare is a music intimately linked to Orphic-incantatory thought and practice, conceived in the spirit of ancestral, intuitive, initiatory and magical music; its aesthetic, like that of some other works, is subordinated to an acousmatic. Through this technique of composition, which is also a mental technique, which effectively penetrates into the orphic space of a "substantiality of color", by discovering the design of a particular species of sounds, "diagonal sounds", which arise from the selective and elastic combination of certain natural harmonics, organized in "diagonal multisons." It is by the "diagonal," by a sensitive sound thought, that we succeeds in discovering the subtle connection between native (concrete) sound, classical instrumental sound, the sound of special instruments and electronic type sound, at the same time as performing a synth between the archaic (suggested by the echo of traditional Romanian and foreign instruments) and modern, within the same artistic thought.

Recording of Jukka Ruohomaki's Hommage à Winston Smith. This work is a recomposition of old sound materials made for am experimental short film. The film celebrates the year 1984, and it develops further the basic ideas of G. Orwell's novel: human beings are produced, exploited and destroyed according to the needs of society. The sounds have here undergone manifold processes, male voices being the main material.

Recording of José Augusto Mannis' Cyclone. The composer describes this work as a language of electroacoustic music in which what counts is the gesture of the sound. The movement of the composition is lively, vigorous and energetic, creating clear musical articulations.

Recording of James Dashow's In Winter Shine. This work was commissioned by the MIT Council on the Arts. This work has been separated into two tracks and is meant to be played "quartet-style" with each loudspeaker in the quadraphonic work thought of as a separate performer. The title of this work comes from a line in John Ashbery's poem "Litany".

Recording of Joris de Laet's Khene dimensioned II. This work is for magnetic tape, and uses sound recorded from the khaen, a mouth organ from Asia, used heavily in Laos. 6 instruments were used. There are four parts to this work.

Recording of Annette Vande Gorne's Tao, 4ème élément: Métal. Tao is a four-movement work, inspired by Taoism. The four movements are Eau, Fea, Bois, Métal, and Terre. This recording only contains the fourth movement, Métal, in two different versions. These versions include the original 1983 version with electronics and percussion and the 1984 version with amplified zheng, percussion, and electronics.