Recording of Ricardo Mandolini's Poema Reiterado using the voice of Leonardo Martinez reciting Mandolini's own poem "Palabras" in an electro-acoustic composition. All sound material are disengaged from the speech of the spoken text (Sprachkomposition) which embodies the idea of the ancient synthesis between text and music. Realized at the Studio of the Musikhochschule in Cologne, Germany in 1983.

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 Tera de Marez Oyen's Ambiversion performed by Harry Sparnaay, bass clarinetist.

Recording of Gottfried Martin's Pax for tape. Includes electronic and natural sounds, including voice, news recordings, and recordings of war sounds.

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

The Lamentation of Attio was composed by Vincent McDermott at the Laboratory of Sonology in Utrecht. This multi-media piece is based on classical Latin poetry by C. Valerius Catullus. The text tells the story of Attis who was emasculated to join the worship of Cibelle. When he complains about what he has become, Cibelle sends his lions after him for eternity.

Recording of Stephen Montague's "Slow Dance on a Burial Ground." Inspired by multi-traking and over-dubbling in pop music. Montague plays all various individual parts on folk flutes and log drums, playing at various speeds and other manipulations in an electronic studio to create at virtuosic product, even with modest skills on the instruments. The piece is an exploration in "Romantic minimalism," with its monthematic unfolding of a melody in the dorian mode and static harmony, but also with 18th/19th form influence.

Recording of Stephen Montague's Tigida Pipa. Commissioned by Elms Concerts for Singcircle, with funds provided by the Arts Council of Great Britain. Tigida Pipa was composed in Ghent, Belgium, and completed in London in January, 1983, but revised several times until 1989. The text consists of invented words and percussive sounds whose inherent rhythmic structure propels the work at breakneck speed through a rondo of sonic adventures.

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.

This piece is a part of a cycle of 8 pieces. J.M. Wyx is a fictional figure, who suggests a fanciful atmosphere of an ancient world and historical instruments. The form is in a large ABA form. Within the composed music, the piece offers an improvisation possibility for solo instrument.

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 Åke Parmerud's "Kren," a concert piece. The title is an acronym of time (the clock) and energy: Kronos an Energy (KREN). The main idea for this piece was to create an electric world loaded with sound events that were emitted in a regular way. The work was created in Stockholm's EMS Studios and was commissioned by the Swedish Institute for National Concerts in 1983.

Recording of a fixed media piece by Iván Patachich.

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 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 Peter Plompen's Triptiek. Includes computer-manipulated concrete sounds.

"Pain" was realized with two of PDP-15 computers at the Institute of Sonology in the Netherlands, using real-time computer sound synthesis technique and some computer-controlled analogue equipment. Compositional programs are written in FORTRAN and sound synthesis programs were written in PILE that was the language for the real-time computer sound synthesis developed by Paul Berg. This piece was premiered in Utrecht in 1983, along with the following text: This piece is based on my experience in the white room in spring 1980. In that time my ex-professor Yoshiro IRINO was seriously ill. He was dying in the bed in the cold, white hospital room. I took care of him, listening to his breathing as proof that he was alive, to the dropping water in the plastic tube as if it was counting a little of the rest of time, and to the sound of a white wall. Sometimes I felt an emptiness and sometimes a tragedy and a sadness. Pain attacked him, it was getting frequent, and his breath was getting confused. ------ In spite of three months of medical treatment he died on June 23, 1980. After his death I felt not only an emptiness and sadness but also …

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.

Real Time was written as a chamber concerto to use as a solo vehicle for performance on the Synclavier.

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.

Crying the Laughing and Golden is a tape work created in 1983 at the electronic studios of Sweelinck Conservatory in Amsterdam. The sounds of a woman laughing and whispering form the basis of most of the sounds in the piece. Studio techniques of multi-tracking, layering, filtering, and modulation were employed as well as synthesis of original sounds. The composer evokes the inner world of a woman's mind, evoking various emotional states of eroticism, violence, joy, fear and ultimately calm. The work has been presented several times in such cities as Amsterdam, Brussels, Heidelberg, Kassel, Los Angeles, New York, Memphis, Atlanta, and Boston. It is the soundtrack for an experimental video by Paul Muller entitled Reflections in a Sound Mirror which has won numerous awards in Milan, Montreal, Sienna, and Berlin. The video was recently acquired in the permenant collections of both the Stedelijk Museum, Amsterdam, and the Department of Visual Arts of the Dutch government.

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 Margaret Sambell's Metal Harmonics. The short piece uses sounds developed by concrete and electronic means of a metallic resonance, much of it utilizing the rich overtone content of the sound source. The work was completed in April 1983 at the University of Birmingham.

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.