Recording of Coriún Aharonián's Que, spoken text performed by Armando Halty. All of the sound material, besides the spoken text, is electronically generated sounds. It was composed between July and October 1969 and was realized in the Laboratorio de Moesica Electronica of the Centro Latinoamericano de Altos Estudios Musicales of the Instituto Torcuato Di Tella in Buenos Aires.

Recording of Jon Appleton's Chef-d’œuvre.

Recording of Jon Appleton's Chef d'oeuvre.

Recording of Jon Appleton's Times Square Times Ten.

Recording of José Vicente Asuar's Gueraria repano

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 Eduardo Bértola's Penetraciones for tape.

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.

Discover for me this fabulous world of electro-acoustics; this world that allows us to accurately retain the slightest gesture, to multiply the sound sources to infinity, to put things and distant sounds side by side and thus to create magical worlds of unheard-of expressiveness. Rainer Boesch

Recording of Pierre Boeswillwald's La promenade du dimanche. First encounter with the widest possible electroacoustic language. The shape and geometry of sounds fade away in favor of emotion, images and climates. Sunday, day of rest where we do nothing but the simulacrum of what we would like to do!

Recording of Pierre Boeswillwald's La Promenade du Dimanche.

Recording of César Bolaños' Intensidad y altura. This work is based on a poem by the same name by Cesar Vallejo and uses sound material from the read poem. Other acoustic materials were modified later with the usual procedures for Tape Music. This piece was the first electroacoustic piece composed at CLAEM.

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 Christian Clozier's En avant la zizique.

Recording of Christian Clozier's Lettre à une demoiselle. This piece uses music written on a newspaper, a sheet, in an attic, in view of an open window on an impassive river, at a flowery table, around two o'clock in the morning, in a low voice, in memory of the companions of the Pleiad. There are three movements: draft, erasures, and post Scriptum. This work also uses sound samples and recorded sound to allow for the poem to reach full expression and character.

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 Christian Clozier's Marché calme et irrégulier.

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.

"This piece made in 1969 with extremely modest means was integrated in 1972 into a triptych, Assemblages, which accompanied an exhibition of "Volumes éclatés" by the sculptor Michel Anasse. It can be considered the third of my "presentable" studies. “Energies” was part of the material submitted in 1988 for the first "Magisterium" of the Bourges Competition, which was obtained. "

1. Lemon Drops: commissioned by Magnavox Corp.; Darmstadt, W. Germany, 3.22.67; Pub. Lingua Press 2. For Harry: (dedicated to Harry Partch); Electronic Music Concert, U. Illinois, 3.10.64 3. Fat Millie's Lament: (dedicated to MF); Electronic Music Concert, University of Illinois, 3.10.64 Pub. Lingua Press 4. The Wasting of Lucrecetzia; Electronic Music Concert, University of Illinois, 1.2.65; Pub. Lingua Press 5. Dante's Joynte; incorporated into Lingua I: Poems & Other Theaters (cf. below for separate listing); Pub. Lingua Press

Recording of Vittorio Gelmetti's L'opéra abbandonata tace e volge la sua cavita verso l'estreno.

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 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 Lucien Goethals' Contrapuntos