Recording of Chris Chafe's "In a World" for cello and computer sound. Computer sounds were realized at Stanford University's Center of Computer Research in Music and Acoustics. Software was created to control legato phrasing of singing voice models, and to perturb them in direction of other instrumental sounds,

Recording of Reed Holmes's Carousel for choir and tape. The two movements represent a different aspect in the cycle of life: movement 1 "The Whispering Wind" is from the point of view of the Elder, introspective and thoughtful, and movement 2 "Carousel" is from the point of view of the Younger, rhythmic, aggressive, spontaneous, and freely melodic. The choir adds heterophonic elaborations of the pattern to the second movement.

Recording of Juan Marcos Blanco's Huellas.

Recording of Roberto Doati, Gianantonio Patella, and Daniele Torresan's "La materia è sorda" performed by Lorenzo Rizzato (speaker) and electronically realized by Granziano Tisato.

Recording of Paul Dolden's "The melting voice through mazes running." The piece was composed by using computer and concrete sounds.

Recording of Kristi Allik's "What if...". The title refers to the composer's most common thought during the creation of the composition; the work was the result of constant questioning and exploration, mainly in the area of timbral synthesis and sound juxtaposition.

Recording of Douglas Doherty's Impact. The sounds and structure of the work evolve through powerful and complex impact resonances.

Recording of Peter Martincek's Les insectes. Incorporates the sounds of insects into a electronic piece of music.

Recording of John Cousins's "Edit for Pauline" for tape.

Recording of Shin'ichi Morita's Coeficient of rebound. The piece focuses on the concept of rebound, which makes up the natural rhythm and influences the sound. Based on a calculation Morita made on the computer, he added realized sound and natural sounds to the rhythm of rebound to create the piece.

Recordings of Gerhard Stäbler's Twilights "protokolle für tonband gleichzeitiz gespielt mit window" (Ewilights "Protocols for tape played simultaneously with window"). Poems were written by Ernestro Cardenal and other texts were taken out of "NEWSWEEK" issues between Auguest 1 and 8, 1983. Produced at the Computer Center of Stanford University/California.

One of his works that face the Viennese reality. A man puts his foot into the Vienna urban region, losing himself in the underground corridors, composing his acoustic impressions to make collages that presents us as transformed images of reality.

Each year, in the early days of spring, we bloom a high restoir at the foot of a large canvas depicting the half-naked Saint, escorted by two bishops with large mitts, gloves and white pumps with gold.Each flower, each candelabra, every grain of incense consumed seemed to revive, and for a few hours only, the whole scene. The blood flowed again on a base of matte skin, slowly the eyelids of the Martyrdom became animated, the movements of the head and the bust revealed the painful efforts of a kind of arrested march. What the eyes of a trained witness could detect, like us, these otherwise imperceptible details; every year, we thought we were seeing new arrows against him unchecked. Mille flèches, is the music of the repository.

This work is born from the desire to deepen research on harmonic spectra. There is no fixed notes, but almost nothing but timbres.These first appear superimposed before becoming denser before becoming a moving crowd, each time faster. In fact it is impossible to separate the search on the timbre from that of the duration. The first sequence ends with a quiet, perfectly tonal chord (major thirds overlaying each other). Further, the signals are shorter, they appear with oppositing attacks of hard and soft, rising gradually in the spectrum until the treble and the bass meet, approaching and moving away like a circle who would breathe; the signals that have become very brief become a cloud of impulses that now escape the timbric and spectral perception: "pizzicati" mutants in space. From this almost involuntary abandonment of timbre is born the last sequence of sinusoidal signals turning into a space that has become completely colorless and immobile. With the brief reappearance of the initial beams the work ends leaving only the frail signal of a minor third: the central La-Do as the end-beginning of the sound universe.

Recording of Rune Lindblad's Metamorphoses.

There is an axial note, Db, out of which some sounds escape occasionally, only to return to it. All other sounds are stratified around these, and the entries of instruments are somewhat free, in a quasi canonic imitation. The tape part was realised with a Synclavier II Digital Synthesizer at the Electronic Music Studio, McGill University. The piece was written for the Agrupaci—n Nueva Mœsica/Rosario [ANM/R] and its conductor, composer Dante Grela. Interferences III is dedicated to them. Premiere: August 14, 1983, during a concert organized by Asociacion de Amigos de la Escuela de Mœsica and the Facultad the Humanidades y Arte UNR, at the Sal—n Italia, Rosario. Chamber Ensemble conducted by alcides lanza. Canadian premiere: with the group GEMS, during the Festival of Canadian Music, organized by Carleton University, at the Ecole Secondaire de Lasalle, Ottawa, on February 27, 1984. LP recording: GEMS Ensemble, alcides lanza, conductor [McGill Records] CD recording: GEMS Ensenble and soloist Meg Sheppard, EMS 35th anniversary [double CD, McGill Records] Score: SHELAN, eSp 8310

Recording of George Skip Brunner's Three Spheres.

Recording of Boyko Stoyanov's Darmstadt Suite.

Recording of John Michael Clarke's Soundings. This piece is an exploration of the sound world of the cello from which the title “Soundings.” The title refers to “resonances,” the tape being a reflection of what the cello plays “live.” Indeed, most of the tape sounds come from recorded cello sounds that were later transformed into an electronic music studio. There is also in the middle part, some sounds produced by computer.

Recording of Henri Chopin and Larry Wendt's Voyage to California.

"Incontro con Rama" was created for the first time in 1982 after a work of absolute complementarity between the indications, the aspirations of Luigi Ceccarelli and the technical practice of Renzo Brocculi: a splendid creature generated in a single week of close engagement with two trombones, a tuba and a complex electronic device for delaying and accumulating sounds, built by the author to do this work. The writing of this work moves on two main tracks: on the one hand the preference to the timbric dimension and to the spectral microvariations, on the other the almost complete absence of melody, in the usual sense of the term. The reference to the rhythm of breathing, as an alternative to the heart rhythm (which music usually favors), however, is the only supporting base of all the architecture on which I conceived this piece. Certainly these that we have mentioned are rules that postpone more to oriental conceptions of sound that to those of our music: in "Incontro con Rama" we can clearly recognize the "OM", the fundamental sound that generates the universe according to Indian mythology. Indeed we can say that certainly "Incontro con Rama" not other than the "OM" in its …

Towards White for amplified bassoon and live-electronics was written in Amsterdam, Netherlands and Freiburg im Breisgau, Germany, in Autumn and Winter 1982. Digital delay was relatively new technology, and this was one of the first pieces to use it in a "live" context. The piece requires considerable virtuosity from the bassoonist and high notes you will not find in any orchestration text.

Recording of Iancu Dumitrescu's 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, as well as that of some other works, is subordinated to an acousmatic (...). By this technique of composition, which is also a mental technique that actually enters the Orphic space of a "substantiality of color," the discovery of a particular kind of sound, the "diagonal sound," arises from the selective and electrical combination of certain natural harmonics, organized in "diagonal multi-sounds." By the "diagonal," a sensitive sound thought, one succeeds in discovering the subtle link between the natural sound (concrete), the classical instrumental sound, the sound of the special instruments and the sound of electronic type. At the same time, this piece operates as a synthesis between the archaic (suggested by the echo of traditional Romanian and foreign instruments) and the modern within the same artistic thought. URSA MARE seems to be something more than a type of spirituality incarnated in a work, namely an approach towards a new musical world, towards a new creative reflection…

Recording of a fixed media piece by Iván Patachich.