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 Patrick Fleury's 12 heures 45 minutes.

Recording of Thorsteinn Hauksson's 17 Juni 1944.

Recording of Edmund Cionek's Abracadabra.

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").

Recording of David Keane's Ambulator Nemorensis. "Ambulator Nemorensis" 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"). This piece is an honest attempt to create something beautiful.

Recording of Bohdan Mazurek's Ballada. The title of the work relates above all to the epic character of the musical narrative. All the main thematic subjects and the materials of this composition are present in a brief entry. Apart from this entry and the conclusion we can find three different parts, but this division does not in any way interfere with the continuity of the work.

Recording of Daniel Starr's Barriers. Barriers is a quadraphonic electronic composition, which was composed in the interval May-June of 1976 in the Yale Electronic Music Studio, using both classical and control-voltage technique. It comprises 30 brief sections lasting 8 to 45 second each, which are in turn divided into two larger sequences of 15 sections, separated from each other by several seconds of dead silence in the center of the piece. Each section on either side of the piece explores a unique combination of sound-points, short, long and continuous tones. The piece is thus loosely organized according to a durational scheme. The opening consists of only short tones, the ending only of long tones; the first half ends only with sustained tones and after the silence, the second half begins with “points” alone. The composition deals specifically with the development and dramatic aspects of those elements, which are carried over from one section to the next, and with the introduction and phasing out of the different kinds of material. Most of the sounds used in the work are pure in character, which is to say that they have a single clear pitch despite the fact that they may have been …

Recording of Keiki Okasako's Beyond the Clouds.

Recording of Douglas Lilburn's Carousel.

Recording of Klaus Josef Mitzner's Casus Mixus.

Recording of Bohdan Mazurek's Childish Dreams. These “Childish Dreams” were written from an idea suggested to me by Jadwiga Mackiewicz and on an order I contracted with the Polish Radio’s Programme. It was the ambition both of the composer that the work should have more than a musical value; that is should possess a visible didactic function. It has been our assumption that electronic music can attract a child’s attention and direct it toward the beauty of the sound world which surrounds him throughout every day: the specific attractiveness, the sound of machines, nature, the street. In making a child susceptible to this specific beauty of sound, his sensual world and his feeling for beauty are enriched. “Childish Dreams” are my first step in such matters. In effect, it is a group of five short works with clearly defined content and titles: Lullaby, Train, In the Land of Ice, Dance of the Cats, Clock Talk. The sound material climate, the manner of the musical narration and the sound material I employed in the various parts correspond with the theme of each sound tale, each “dream,” to a great or smaller extent. Though the music carries programme-type features, I feel I …

Recording of Bohdan Mazurek's Childish Dreams.

Recording of Gabriel Berncic's "Chile Fertil Provincia..." Electronic and instrumental sounds, recorded and processed onto four tracks, make up an autonomous flow. To this are added percussion, viola, double bass, tumbadoras and voices, these instruments-persons bringing new visions to the ensemble through the free creation of sequences and/or parallel discourses. "Chile fertil provincia" is the opening line in Alonso de Ercilla y Zœ–iga's La Araucana, the long epic poem which was the first to tell of the conquest of this remote West Indies country in Spanish American literature. It is an allegory about the motherland in ancient and recent times: Latin America told through scenes whose chronology does not obey any absolute historical time. Beginning with a futuristic ancestor and passing through different vassalages, a synthesis forms which evokes the oldest of traditions and aspires to be a binding hymn of the peoples. The titles of this staging music are, in order of performance, as follows: The Woods of Our Ancestors and of Those Yet to Come, The Conqueror's Cross of the South, The Piano of the Inquisition, La Moneda del Valle de Yuro, Jail and Disappearance, The Broad Boulevards Will Open Up. This work, revised several times and finally …

Recording of Eduardo Kusnir's "Como un suspiro caido del cielo" ("Like a sigh dropped from the sky").

Recording of Satoshi Sumitani's Contort Continuum.

Recording of Jacques Diennet's Création mondiale. This piece is a synthetic prelude with a classic form. The composer used wide sound tracks/slides to spread concrete and electronic sound plates.

Recording of Arthur Kreiger's Dance for Sarah. This piece explores a rich palette of electronic sounds - sounds whose timbral elements are in a constant state of flux in contrast to those which appear in a more steady - state fashion - sounds that utilize the upper registers of the spectrum set against those giving emphasis to the bass tessitura - sounds played in the most delicate pianissimo opposing those of a loud and raucous character. The form of "Dance for Sarah" is a modified ternary structure. The middle section closes with a crashing glissando that is followed by silence. A quiet high-pitched envelope emerges from this silence opening the final section of the piece while creating an aural reference to the beginning gesture of the composition. The final section contains a noisy, flamboyant climax. The energy of this climax is soon spent ant the piece gently fades.

Recording of Denis Smalley's Darkness after Time's Colours. The piece can be looked on as a vocal journey which passes through various 'ordeals' and encounters, hence the title's allusion to the journey down into Classical underworld. The sound material of this piece grew out of live electroacoustic work Pneuma whose five vocalists elaborate a language of air sounds, unvoiced consonants and vocal harmonics, and play talking drums from India and Ghana, tuning forks, Chinese gongs and tam-tam. Many of these sounds formed a starting point for this piece - gong strokes, vocal air sounds, air blown on the skins of drums, rotations around drum skins, unvoiced consonants, and tuning fork pulsations - but have often been altered in shape and substance by electroacoustic transformation. New sounds extend, imitate, and penetrate the source sounds elaborating an ambiguous sound symbolism.

Recording of Sten Hanson's La dernière nuit de Robespierre au 197'0.

Recording of Reynold Weidenaar's Drive. Its glow is soft - silver. It becomes denser - and as the stuff of which it's made grows closer, it becomes harder and harder to keep it round, shining, glowing. Fatigue builds. Will is not enough. Finally, the question of why enters and the blows weaken, are fewer. The center holds itself for a while. To fail means death. The center then comes apart. Bursting or oozing. Back again to the periphery. A counterattack is mustered by the powers of will. A new pounding. A second glowing. But then a greater final fatigue enters. It ends. There isn't anything left. Why is left unanswered, unheard. - Thaddeus Kostrubala, M.D.D, The Joy of Running

Recording of Reynold Weidenaar's Drive.

Recording of Denis Lorrain's Droite, hommage à Le Corbusier. This piece uses ten basic materials whose durations are fixed in the range of 5-30 seconds and marked by percussive strikes. There are two free sequences that incorporate trombone and vibraphone. The piece is elaborated on by simple instrumental sounds and reading of texts.

Recording of Dragoslav Ortakov's Eleorp.