Recording of Lothar Voigtländer's 3 elektronische Studien. The basis for the composition are the poems of the poet Erich Arendt. The poems were written around 1925 in his Expressionist creative period. Accordingly, the compositional means: concrete musical material is mixed with electronic sounds to achieve a strongly expressive and suggestive associative effect. It is less thought of as a "setting" of the texts, but should be added to the often strongly symbolic language formulations as a different, musical dimension. The vocals and the piano usually work live. The piano is mostly treated as unrecognizable - this is to achieve a seamless insertion into the electro-acoustic sound material. In a performance, both piano and singer can be electro-acoustically amplified and to a lesser extent technically manipulated (reverberation, iteration, etc).

Recording of Richard Zvonar's 3 for 5 for percussion, performed by Daryl Pratt. The piece is divided into three movements, with a different set of instruments for each. These are set up in three locations, which form an arc left to right across the performance area. Four playback speakers are situated beside and between the three playing locations. The tape sounds are entirely derived from recorded sounds of the percussion instruments. Throughout the piece, the live and recorded sounds continuously diverge as the piece progresses until at the end, the original sounds have been greatly expanded and enriched through speed transposition, mixing, filtering, etc.

Recording of Eugeniusz Rudnik's 4 Poèmes made in a technique for a recording studio of hand-held electronic music. The sound material is based on electronic effects, rustling, instrumental and vocal sounds. Each part is integral, allowing them to present in the order of choice.

Recording of Carl Bergstrøm-Nielsen's "11 september." The text is from a document called "What is MIR?" which was sent out illegally in Chile in 1974 and from the appeal of MIR two years after the taking over by the junta, on September 11, 1975. A left-wing party, MIR stayed in Chile in order to contribute as efficiently as possible to the building of the opposition. Other sound material also includes sounds from a typewriter and a demonstration at Bastad, Sweden in September 1975 at a tennis match between Sweden and Chile with more than 4,000 participants. The text is taken in small excerpts from the document in Spanish, English, Swedish, Danish, French, Dutch, and Icelandic. The piece consists of three sections overlapping each other gradually, which shows the relationship between the spoken words and the immediate danger connected with that text. The first section "as a spontaneous statement," deals with the document at its direct background: the silence is broken, in spite of the danger connected with the writing, manifolding papers that criticize the politics and methods of the junta and discuss the strategy of the opposition. The second section deals with the document as a medium of discussion. At …

Recording of Patrick Fleury's 12 heures 45 minutes.

Recording of Peter Kolman's E 15.

Recording of Thorsteinn Hauksson's 17 Juni 1944.

Recording of Luigi Ceccarelli's "Abominable A" for magnetic tape. The piece includes the voices of Kadigia Bove, Francesca Furlanetto, Eugenio Giordani, Luciano Martinis, Michela Mollia, Achille Perilli, Marina Poggi, Enrico Pulsoni, Giovanni Puma, Kerstin Riemer, Claudio Rufa, Stefano Scodanibbio, Gaetano Trusso, and Catherine Verwilgen. The piece contains a recitation of all the words in the Italian vocabulary that begin with the letter A, read in sequence from voices with different stamps, rhythms, and intonations. To these are added other sequences in French, German, and English. The work is divided into fifteen sections, each of which has a different criterion for processing the timbre, rhythm, and space. It was realized at the Electronic Laboratory for Experimental Music at the Conservatory "G. Rossini" in Pesaro from 1978 to 1980.

Recording of Edmund Cionek's Abracadabra.

Recording of Raoul de Smet's Adagio. For this work the composer had proposed harmony and relaxation "before anything else.” From there, a slow and steady tempo and very simple form. The sound material is provided by twelve ordinary sound generators. The work begins with a chord in the treble, slowly emerging from the silence or void sound and sustained by a regular pulsation in the bass, the result of differential sounds. Then several new sounds are added while others change timbre, octave, or dynamics causing different sounds of other types. During a slow rise in crescendo, short glissandi roam and decorate the sound space until the climax is reached. A sound column, containing twelve frequencies, comes to rest for about a minute, allowing the ear to move in the audience and thus capture the sound shimmer. This passage is the opposite of the sound of nothingness and could thus appear as a sound universe where one could also lose the notion of time. A brutal blow breaks this sound column like a spring too long stretched. This universe collapses slowly to retreat into the depths of the sound nothingness from which it came. The work was realized on an analogue …

Recording of László Király's Adieu a Terez. The sound materials of the composition were comprised of modulate female voice with diverse electronic mediums.

Recording of László Király's Adieu à Terez. “The sound material of the composition is a female voice modulated by various electronic means. The composition consists of 3 parts: 1) The enchantment of Terez, 2) The dream at dawn 3) Farewell The first part is based solely on the modulation of the voice. The beginning of the second part consists of an indiscernible speech and vocal music, which becomes more and more discernible. The third part remains on the contrast of voice and vocal music. For me, the essential was the contrast and the correspondence and the emotional effect the different timbres of sound.” - László Király, composer

Recording of Jukka Ruohomäki's Adjö. Sound material is all electronic sounds from the animation picture "Electric Bird Garden" (1974, manuscript by Marja Vesterinen, directed by Antti Kari). The piece was premiered at Young Nordic Music Festival (UNM) in the Temppelinaukio Church in Helsinki on 28 February 1975.

Recording of Alfonso Belfiore's Aegror, a composition for computer made in 12 voices grouped in three channels. Two generating forces are at the basis of the development of the work, where one tends to the stratification (process also identifiable in the structure of the same sound) of the sound materials in massified and crystallized events, the other, contrary presence, tends, in the disintegration of these structures, to the restitution of a perceptible individuality to each layer up to the elementary ones of the acoustic parameters of a single sound.

Recording of Barry Truax's Aerial for solo amplified horn and four computer-synthesized soundtracks performed by Steven Field. Aerial is characterized by an interplay between the solo instrument and the taped sounds in terms of complementary and contrasting sound colors. It attempts a close blending of the horn with the tape, not only in terms of timbre, but also with frequent pitch references, similar rhythms and quadraphonic spatial amplification. The horn is not intended to be heard as a 'solo' voice, but rather as an integral element of a complete environment, sometimes leading, sometimes following, and in the final section, gliding effortlessly on its currents as suggested by the title. The piece is closely related to part II of the composer's Love Songs for voice and tape, and evokes the sense of landscape, mountains, clouds, and lakes as related to the love imagery found in that piece. The work is also inspired by a comment of John Cage that "in landscape there are no inherent contradictions." The work was written for and is dedicated to James MacDonald. Both the tape and live part were realized with the composer's POD6 and POD7 programs for computer sound synthesis and composition at Simon Fraser …

Recording of Stefan Beyst's Aguiro for tape.

Recording of John Heineman's Air Piece. Air Piece is a theatrical piece made on magnetic tape. Essentially made up of aircraft sounds recorded at the airport, on the airstrip and inside the terminal itself, the various sound elements are only edited and mixed together as in cinematographic technique. The piece was created at the Electronic Laboratory of the Conservatory of Pesaro.

Recording of Tamas UNgvary's Akonel no. 3. As per the composer, there is no program note for this piece. It is intended to be used for listening purposes only.

Recording of Tamas Ungvary's Akonel Number 3.

Recording of Scott Wyatt's "All for One" for solo percussion with electro-acoustic music performed by Thomas Siwe, percussionist. The piece was composed for a unique arrangement of percussion instruments and loudspeakers within the performance area, creating a large sound sculpture. "All for One" was written for and dedicated to percussionist Tom Siwe. It was awarded the 1984 CIME grand prize at the 12th International Electroacoustic Music Competition in Bourges, France.

Recording of José Vicente Asuar's Amanecer. “Amanecer” is formally a very simple work. Through this and other works, I try to project the possibilities of electroacoustic music in a sonorous universe where harmonic intervals prevail and a formal concept not far from impressionism. For a long time I experienced, as other composers have, new possibilities of sound and structure, matter and musical form, with electroacoustic sounds. I have not abandoned the search, but I want to choose some things in works that are simple and easy to listen to for any auditor. This is the reason of being of works like “Amanecer”: a break in the path of a creator. From a utilitarian point of view, “Amanecer” is thought of as music for ballet, as an introduction to some work of greater encouragement that is still to be written.

Recording of José Vicente Asuar's Amanecer. Amanecer is a formally very simple work. Through this and other works the composer projects the possibilities of electroacoustic music in a sound universe where harmonic intervals and a formal conceptualization not far from impressionism prevail. The rationale behind works like Amanecer is a break on the path of a creator. From a utilitarian point of view, Amanecer is intended as music for Ballet, as an introduction to some more breathtaking work that is yet to be written.

Recording of Richard Orton's Ambience. Ambience for solo bass trombone and tape was written for the American Trombonist James Fulkerson and first performed by him in the Wigmore Hall, London, on 17 May 1975. He has since included the work in many recitals during his tours in Scandinavia, Canada and the USA. The title "Ambience" here refers to the imaginative sonic environment surrounding the sounds of the trombone, including the most "artificial," synthesized sounds, instrumental ensembles which incorporate the trombone, and environmental recordings including public sounds we will recognize and share. Within this sonic environment the trombone at times asserts itself, at times merges most imperceptibly, and eventually complements it and achieves a harmonic and dynamic balance.

Recording of Michael Keane's Ambulator Nemorensis. This piece was put together as a preliminary study for an experimental film by Nicholas Kendall called Tala. While the actual music used in Tala was quite different from Ambulator Nemorensis both are attempts to create an imaginary landscape (or to use Murray Schaefer's term "soundscape").