Recording of Bohdan Mazurek's Petite Symphonie électronique. The piece is divided into three parts: the Introduction and Allegro, Scherzo, and a Fugatto that is integrated at the beginning of the Finale. It was realizes at the Polish Radio Experimental Studio in Warsaw, Poland.

Recording of David Kenneth Mason's Picnic Four.

Recording of Krysztof Knittel and Andrzej Biezan's Polygamy for tape. The sound material was based on improvised playing on cans by Biezan and Knittel. The piece was realizes in the Experimental Studio of Polish Radio in 1979. It's premiere performance was at the Technische Universitat in West Berlin on February 1979.

Recording of Denis Smalley's The pulses of time. The piece reflects the varied behavior of pulses: the regular pulses of meter, the much slower pulses which pace sections of music, and pulses which form the interior character of sounds - the accelerating pulses of a bouncing sound, and the fast pulses creating the "grain" in sound textures. The different atmospheres in the work are generated by the major sound sources: the electronic bounced family of sounds, metallic harmonies which expand the resonances of dramatic gong-like attacks, noise contours, drums and percussion both real and synthetic, and the clavichord which provides a rich reservoir of sounds - deep clusters, sighing pitches, resonances truck on the soundboard, strings plucked and stroked. The clavichord sounds remain raw and untreated.

Recording of Denis Smalley's The Pulses of Time. The Pulses of Time reflect the varied behavior of pulses: the regular pulses of meter, the much slower pulses which pace sections of music, and pulses which form the interior character of sounds - the accelerating pulses of a bouncing sound, and the fast pulses creating the grain in sound textures, for example. The different atmospheres in the work are generated by the major sound sources: the electronic bounced family of sounds, metallic harmonies which expand the resonances of dramatic gong-like attacks, noise contours, drums and percussion both real and synthetic, and the clavichord which provides a rich reservoir of sounds - deep clusters, sighing pitches, resonances truck on the soundboard, strings plucked and stroked. The clavichord sounds remain raw and untreated.

Recording of Lelio Camilleri Quartetto for four-track tape. The piece is in three sections according to the ternary form ABA'. The sound material is composed of a series of modulated sinusoidal frequencies. In the first section, the material is used to create soundtracks that are organized with different durations in the four tracks. In the second section, the material, through transformations using several controls on the same frequency, gives rise to figurations with very variable frequency, timbre and envelope. The third section is a varied cover of the first and uses the same frequencies with different durations, timbres and envelopes.

Recording of Yves Daoust's Quatour. "In composing this work, I thought a lot about Beethoven's Grande Fugue, Opus 133. There is this incredible tension in writing, almost inhuman, as if Beethoven had wanted to shatter the instruments, as if he wanted to reach the limit beyond, which opens expressive areas inaccessible to acoustic instruments - if not in the dream - but that the magic and artifices of electroacoustic means can now explore. To search for inflections and articulations characteristic of the string quartet writing across all eras and give them that little push to slide into an imaginary space, transcending the physical limits of musicians related to their acoustic instruments. This is Quatuor's intention, which is an admiring homage to these performers, for whom forming a quartet is often a little like entering religion..." - Yves Daoust, composer 1st prize in the electroacoustic studio category at the 8th Bourges International Electroacoustic Music Competition, 1980 and Golden Euphony, 1993.

Recording of Yves Daoust's Quatuor.

Recording of Elżbieta Sikora's "Rapsodie pour la mort d'une république" ("Rhapsody for the Death of a Republic"). The world premiere was during a fragment of the ballet "Agranissement" at the Warsaw Chamber Opera in 1979.

Recording of Satoshi Sumitani's Relief Progression. In this "Relief progression," using 200 collected voices, the lines of relief of the sound space are repeated.

Recording of Gábor Darvas's Reminiscences for magnetic tape. The piece is made up of eight scenes which are built of concrete sounds reminiscent of past eras separated by distinct interludes. It composed at the Electronic Studio of Hungarian Radio during November and December 1979 and was realized at the Electronic Studio of Budapest Magyar Radio.

Recording of Joaquin Orellana's "Rupestre en el futuro" for tape. Extra-musically, the piece is a "testimony of place" in a surrealist picture of a social situation, namely, the development of humans. The beginning of the piece uses phonemes in indigenous languages (Quiché, Tzutujil) and special instruments made by the composer to simulate the sounds of "a supposed primitive man."

Recording of Roland Willmann's Salve Regina. The Gregorian chorale Salve Regina was the point of departure of this work in that the composer tried to alter the original form but followed and supported it in a formal and expressive way using electronic sounds. The usage of the initial motif to the final corresponds to the cyclical form of the same chorale. The repetitive formula mentioned in the chorale is another structural element that were created in 3 echo recordings.

Recording of Roland Willmann's Salve Regina. The Gregorian chant Salve Regina was the starting point of this work in which we tried not to alter the original form but to follow it and support it in its formal and expressive course by means of electronic sounds. The use of the initial motif in the end corresponds to the cyclical form of the chant itself. The repetitive formulas, mentioned in the chant, are another structural element that grow in 3 echo plans.

Fall/spring performances program book from the 1978-1979 school year at the North Texas State University School of Music.

Student performances performances program book from the 1978-1979 school year at the North Texas State University School of Music.

Recording of Guido Baggiani's Senza Voci 2. This work is a piece in three parts. From a base material consisting of four sine waves, three groups of sine waves were derived. The frequency spectrum results from a process of amplitude modulation. There are two different levels of the same process. First level: frequencies belonging to the same group modulate each other. Such reports generate, for each group, four different "Group States". Second level: frequencies belonging to one group modulate another group. This is how the four groups relate to each other.

Recording of Zoltán Pongrácz's Sesquialtera for two-channel tape. Title taken from the name of an organ register that coincides with the proportions Pongrácz uses to create sound material (by multiplying each Hertz with 3 and 5). The proportions effect the range of pitches, as well as rhythm, movement, and form. All of the sound material is synthesized. The piece was composed in the studios of Hungarian Radio in 1979 with the collaboration of István Horváth, sound engineer.

Recording of Hal Freedman's Short Circuit performed by Gerry Hemingway and Freedman himself. It is a duo piece, in which the instruments and timbres constantly intact in a highly structured but not inflexible manner. Many of the actual notes and rhythms were improvised, but within strict structural confines that often define what is to be played more naturally and precisely than a full score could accomplish.

Recording of Anthony Holland's Sister kate, S. HZ. Originally written for clarinettist Jeffrey C. West, this work is intended as an abstrack work for clarinet and tape. The work recounts some of the sounds heard by two young "bohemian" musicians on their first trip to Paris, France around 1978. It also references a missed appointment with Nadia Boulanger.

Recording of Dexter Morrill's Six dark questions performed by Neva Pilgrim, soprano. The piece is designed for soprano and a single electronic speaker. It is a voice drama in which the questions form an inquiry into the structure of the personality. At the outset of the piece, both singer and electronic device are defined in lifeless, mechanical terms; but as the questions are put forward one by one, more and more is revealed about the well hidden emotions in the individual. At first, the singer is unwilling to play the question and answer game, and even when she finally begins to respond, her answers are stock cliches. However, she quickly finds that when she gives a superficial or false response, the speaker falls silent. The quality and weight of this silence grows in meaning through the piece. When, on the other hand, she reveals herself, the speaker joins in accompaniment of increasing complexity and intensity after the first tentative beginnings. The questions are "dark" for two reasons. Firstly, they are suggestive and symbolic rather than open and direct. Secondly, they raise increasingly serious human problems. The first two animal questions, the singer's associations for cats and horses are relatively simple. …

Recording of Dimitrios Iatropoulos's "Le soi, le choix et les autres" ("The self, the choice and the others"), five songs composed on the voice of Tibby Sachet. Iatropoulos calls this work a "composition psychoacoustique" ("psychoacoustic composition"). It is a study on the expansion and travesty of the voice that corresponds to the continual contradiction between the self and the choice of the woman. The choices the woman is faced with it that of active/passive, dad/mom, woman/girl, self/others. It is a representation of average female forces in a medium social environment in a language that is not too formal and not too casual. The intensity of the sentences are amplified by the montage on the magnetic tape which reflects the speed of the woman's thoughts.

Recording of Jean-Claude Risset's Songes. Songes was produced at IRCAM with a variation of the MUSIC V program. The original program, designed by Max Mathews was extended by John Gardner and Jean-Louis Richer so that it can process digitized sounds as well as synthesize sounds. The piece uses some sound materials from Mirages, a piece for 16 instruments and tape commissioned by the Donnaueschingen Festival (1978). The title suggests the dreamlike nature of adventures set on another scene: adventures from an absent, imaginary world. The identity of sound beings that sometimes escape material constraints dissolves in the continuity of textures, in the flow of deformations, displacements, liquefactions. At the beginning of the piece, the computer was used to assemble, superimpose, tile five motifs - these motifs, each lasting 2 to 5 seconds, were recorded separately by 10 instrumentalists of the Ensemble InterContemporain. In addition to the superimpositions, the instrumental sounds have undergone modifications governing in particular spatial effects. The harmonic structures of these patterns, repeated in a quasi-obsessive way, are repeated in a high harmonic fabric, then in inharmonic synthetic sounds. The components of these sounds can, depending on their temporal profile, merge into simulacra bells or dissociate into fluid …

Recording of Daniel Arfib's Le souffle du doux. The gentleness is the wind, the wood, too. “Le souffle du doux” is a play on simple elements always harmonically connected, voluntarily limited to the point of view of the choice of the timbres, it is the relation between the Bottom and the Top (between the grave developing its harmonics and the acute blow), which the subject of this piece.