Recording of Igor Štuhec's A study for Electronics Sounds. This is a work for electronics that premiered at a concert in the Modern Gallery in Ljubljana.

Recording of Janez Matičič's Oscillations. This work represents the composer's first electroacoustic composition which was produced as four-channel sound. Motions of sound, specifically from the phenomenon of gravitation, feature prominently in this composition. This work was created using concrete sounds only.

Recording of Christian Clozier's Lire à Lully. This work is the composer's first attempt at electroacoustic music. The sound source used for this piece is the piano which was not mixed but edited in "search of expressiveness".

Recording of Juan Blanco's Musica Para Danza. This is the composer's first work for electroacoustic tape and was created using an oscillator and tape recorders.

Recording of Clarence Barlow's Piano Concerto No. 2 - "Aux fins de quelques siècles". This work started as the second movement of the composers Piano Concerto No. 1 in D and as years past and music changed, the piece changed as well. The composer notes the musical differences throughout the progression of the piece as a reflection of the decade it was written. It was premiered as an orchestral piece in Reykjavik with soloist Deborah Richards and the Iceland Symphony Orchestra.

Recording of Gabriel 's Batucadas. This is a piece entirely composed with electronic sounds. It is an elaboration based on pulsations that occur at different speeds leaning towards density accumulation. Static, shrill and strongly aggressive material that overflows the interrupted background of pulsations. The work was composed in 1973, during the last year of existence of the Laboratory of the Latin-American Center of High Music Studies of the Torcuato Di Tella Institute.

Recording of Hugh Davies' Shozyg 1 et 2,2. This work was created by reconstructing and modifying 4 instruments (an egg slicer, Aeolian harp, guitar string, and various springs) whose sound progresses from monophonic into stereophonic. The composer intends the piece to be performed with 4 speakers.

Recording of Lucien Goethals' Studies 3. This is a work for electronics.

Recording of Lucien Goethals' Studie 2. This is a work for electronics.

Recording of Lucien Goethals' Studie 5. This is a work for tape with mixed electronic and concrete sounds. These different materials play off of each other in what the composer describes as a "question and answer" type of dialogue, while being modulated and transformed in various ways.

Recording of Lucien Goethals' Cellotape. The electroacoustic part of this work was produced in three versions: one-track, two-track, and four-track tapes. It is meant to be played with two performers, a cellist and pianist who become responsible for the synchronicity of the piece. The piece premiered in Brussels with cellist, Herman Sabbe and pianist, Pierre Bartholomé.

Recording of Armand Gutheim's Die Mauer. The sight of the former wall, which divided Europe in two, and the feeling that it evoked, was the perfect subject for an electroacoustic piece. Divided into three parts (1. Construction 1961, 2. Checkpoint 1975 and 3. Destruction 1989). Several acoustic instruments, tools and sounds were originally used at the recordings as well as a choir. Nevertheless, they were all processed and adapted into the electroacoustic concept that can be heard. The result became a piece who may give the listener an unpleasant feeling from the past but also a feeling of hope for the future.

Recording of Francisco Kropfl's Dialogos 1. This work uses complexes of short of electronic sounds with long reverberations of the round 10 seconds each, thanks to the natural reverberation chamber build at the studio at that time. The name of the piece relates to the "dialog" between the long transparent sounds obtained through the aforementioned procedure and the original electronic pulses.

Recording of Jan W. Morthenson's Neutron star. This work is based on thermodynamics. The sensation of gravity and compression is represented by acoustic means. The whole sound mass breaks up into glissandos and is dissolved in an echo giving an illusion that the imaginary event has taken place in space. The great quantity of impulses and the focal point in "Neutron Star" necessitated the use of a computer (SAAB D-21), which has itself produced the electronic impulses (with frequencies chosen by a random generator) and been programmed to let the impulses appear at on the whole fixed intervals.

Recording of Bengt Hambraeus' Doppelroho II. The title indicates that Hambraeus has used as his basic material the range of tones produced by an organ. In this work timbral manipulation becomes a new compositional element. The importance of the organ is immediately established not only in its exclusive use, but as one of the most effective timbral fillers of the gap between live and electronic music.

Recording of Lucien Goethals Cadenza. This composition is part of a work for orchestra and electroacoustic music. It is a solo for tape recorder, placed in the middle of the work. The basic material is electronic sounds and concert sounds (instrumental sounds). The overall shape is the result of superimposing a large number of fairly simple sound layers.

Recording of Jon Appleton's Chef d'oeuvre.

Recording of Jon Appleton's Times Square Times Ten.

Recording of Bogusław Schäffer's Symphonie. Both in its original conception and in its accomplishment, of which a considerable part of the credit goes to Mr. Bohdan Mazurek, sound engineer of a remarkable creative experience, the Symphony comprising four parts, presented, in accordance with the idea of ​​the composer, of the structural arrangements, techniques, transposition processes, time relationships and aesthetic and auditory principles which vary from part to part. The work in the studio was made from a score which did not have to take account of the sound situations, but which had to constitute a bridge between the composer and the director, sound engineer. The diagram of the Symphony constituted a system of signs offering a rather distant relation to their musical representation, conventional signs, homologous to a certain extent only to the unfolding of the work. The following electronic devices were used in the composition of the song: sound generators, square wave generators, sawtooth wave generators, white noise generator, pulse generator, filters, ring modulator and amplitude discriminator. The work on the Symphony in stereo was completed in the spring of 1966.

Recording of Otto Luening's Synthesis.

Recording of Otto Luening's Gargoyles.

Recording of Paul Pedersen's Fantasie. This 8 minute, 2-track tape piece was composed in 1967 at the Mc Gill University electronic Music Studio. The work was conceived as a multimedia presentation using 3 projectors with hand painted slides by the Montreal artist Gino Bielanski. The piece is in 15 sections, which are synchronized with the fifteen slides used in the centre projector. Pitch organization in the work is centered on a 9 pitch series between 77 and 2335 Hz with successive pitches 200 Mels apart. Two sections involve the use of the Shephard Scale. The basic sound sources used are limited to white noise, sine and square waves. Much of the synthesis of the work was done using the channel Spectrogram developed by Dr. Hugh Le Caine of the National Research Council of Canada.

Recording of Myron Schaeffer's Voices and Bells.

Recording of Lucien Goethals's Studie VI. The basic material is rectangular waves. This material is subjected to various transformations by filtering. The octave is divided into 24 equal parts--it's quarter-tone music. Various sound layers (rhythm - melodic) are superimposed which gives form to a polyphonic playing. So it is mostly linear music with no use recorded sounds.