Recording of Steve McCaffrey and François Dufrêne's Les accords d'Helsinki. These pieces are part of a suite for electronics. Sound materials include vocalizations and spoken text.

Recording of Nicole Lachartre's Le jardin du village des sables blancs. This is a work for electronics that was inspired by the garden, Hakousasondo, in Kyoto.

Recording of Wilfried Jentzsch's Paysages G. This work is a result of research on gongs and the composer describes it as a cultural bridge between East and West. This work includes two structures: the Javanese Pelog tuning range and the Javanese Slendro tuning range.

Recording of John Melby's In tenebris. This work is for piano and computer-synthesized tape. The title means "In darkness", and is taken from a poem by Thomas Hardy.

Recording of Lionel Filippi's Ceremonias. Starting from a basic idea (2 fragments of popular music from the North of Argentina) the work unfolds in various directions: the central idea evolving with interferences of certain elements which cut its continuity but do not distort his point: to relate totally opposite sounds both in terms of their origin (concrete, electronics, popular music) as well as their use and processing.

Recording of Ton Bruynèl's From the Tripod. This program music musically retraces a kind of history of the West commented by a group of women, from Greece to American society. Charles Baudelaire's quote "Give me the strength and courage to contemplate this world without disgust," is heard at the end of Bruynel's work as a mechanical bird passes by and bells are ringing. From the Tripod is a piece for speakers, women and listeners.

Recording of Nicole Lachartre's Le Jardin du Village des Sables Blancs.

Recording of Martin Rudolf Schwarznlander's Das Unrecht in Meineim Bad.

Recording of Rolf Gehlhaar's Sub Rosa, four-channel electronic music on tape. This composition is based upon an examination of the physical interaction of various types of sound signals. Its structure and organization emerge primarily from the totality of these subsurface interactions. The fundamental process involved is that of interference patterning, brought about by a very slight but repeated variable phase shifting of a signal with respect to itself or by superposing many frequencies that are only very slightly out of unison. These kinds of interactions, taking place beneath the 'surface' of the sounds, can give rise to completely new sounds as well as complex and shifting timbral patterns where the rhythmic patterning of the surface is produced in manufacture by the superposition through pressure of slightly misaligned parallel weaves. Sub Rosa was commissioned by the Centre Europeen pour la Recherche Musicale, Metz, where it was produced in 1980; it received its premiere in Lille in 1980.

Recording of Boguslaw Schaeffer's Kantate Elektronische Musik. The four-track composition "Cantata" consists of four unequal parts; in this electronic music piece, the composer created a symphony in formally contradicting parts. This creates an obligation to be more accountable about the material. A composition then does not appear as a composition of the material, but as a form. The title refers to the idea of using as many devices as possible. The music is intended as a reflection of time.

A recording of Francisco Estevez's Contra-Contra.

Recording William Ortiz's 124 E 170th St. (for electronic tape, narrator, and percussion). It is a mixed electroacoustic work depicting the Puerto Rican urban experiences the United States: the struggle against the agony of the ghetto and against the imposition of a crushing colonial state of mind. The piece is a summons to awake from the broken English dream and assume the Puerto Rican and Latin American essence that belongs to us. The text was written by two Puerto Rican poets living in New York City: Pedro Pietri and Sandra Esteves. The music largely makes use of Afro-Caribbean rhythms, and involves theatrics.

Recording of Alcides Lanza's Acufenos V, for trumpet, piano and electronic sounds. Written in 1980 for the trumpet player Robert Gibson, who did the premiere performance at Pollack Hall, Montreal, with the pianist with Alcides Lanza at the piano. The tape part of Acufenos V was made from sounds of recorded trumpet, with a diversity of mutes and styles of playing, and electronic imitations of the same sounds. Acufenos is a Spanish medical term meaning "tinnitus" (tinnitus: from the Latin ringing, French tinnitus or acuphene. It is the past participle of "tinnire", to ring: a sensation of noise (as a ringing or roaring) that is purely subjective. With the carapace of a porcupine type of animal. The tape part was realized at the electronic music studio, McGill University, Montreal, and finalized at the private studio of the composer (Shelan Studios).

Recording of Gerald Bennett's Winter, music made for digital synthesizer. It is based in its sound and temporal structure, on one of Friedrich Hölderlin's last poems. These poems, which almost all have a seasonal title, are luminously calm; nothing moves, image is placed next to image, without syntactic or logical relations. In the play, six imaginary female voices make a double canon, unlike six families of non-vocal sounds. The sound structure, the choice of pitches and frequencies, also depend on the sequence of vowels in the poem. The large proportions of the composition, but also the inputs and durations of each individual voice, however also the temporal structure of the poem. However, the poem remains audible. In the music, as in the poem, there is no dramatic development, no climax; nothing is happening. Like the poem, the music presents objects to your reflection. The synthesis was carried out with the CHANT language at IRCAM in November and December 1980.

Recording of Sukhi Kang's Mosaïco.

Recording of David Kenneth Mason's Freispiel.

Recording of Rob Kruit's An Electronic Symphony Everyone and Nobody.

Recording of Jean Charles François's Err / and branching. This is the first of two pieces for tape made from sound material worked on at IRCAM during my stay in Paris, using Music 10. The final production was made at the Center for Music Experiment in November 1980. The 2 nd piece is in progress. The digital sounds produced at IRCAM are part of a large repertoire of tapes used in the context of the KIVA group's instrumental improvisation through amplified acoustic instruments.

Recording of Stephen Perry's Pro Patria Mori. This piece has as its inspiration the first stanza of Wilfred Owen's poem, Apologia Pro Poemate Meo.

Recording of Paul Wieneke's A Garden for Orpheus. This piece is a study in musical applications of the critical band phenomenon, which is a means of evaluating acoustic dissonance between tones. Its use in this composition effects both harmonic and melodic considerations. Rhythm is largely defined by either simple "Fibonacci" relationships or complex patterns arising from several voices pulsing at various rates. The title is from a painting by Paul Klee much admired by the composer.

Recording of Itsvan Szigeti's Souvenir de K. The form of the piece as the composer describes it is: Inner form - determined by the content of the poem. It is built up by dream-like, blending episodes as a quasi-birth; Outer form - freely handled rondo and bridge; Rondo- The returns certain soundings/mostly singing separated vowels/ in a modulated - almost periodical - way; Bridge - The correspondence of the time-spheres of certain episodes; Ordering principle - mathematics, statistics as well as two numbers seven and nine. Seven is a "magic" number and prime number. Nine is the number of the months from conception to birth. The work consists of seven main episodes, within these there are two episodes reduced to their components: the first and the last one - which results nine parts. The arithmetical mean of seven and nine is eight. The poem has eight lines, each line having syllabes; Rhythm - is based on the poetic rules of the poem; Space - I wanted to make use of the possibilities of quadrophony in the most felicitous way in the work. Last but not least - aleatory has got a role in the work.

Recording of James Dashow's Conditional Assemblies, quadrophonic work. Conditional Assemblies is based on three groups of five pitches, each group having one pitch in common with the other two. At the beginning of the piece each group is given a characteristic timbre and textural treatment, and the rest of the work develops, mixes and transforms the pitch- timbre-procedure relationships. The work is in two major sections each of which consists of two overlapping subsections. Conditional Assemblies was commissioned by the Biennale di Venezia for the 1980 music festival and realized at the Centro di Sonologia Computazionale of the Universita' di Padova. As usual, I was using Barry Vercoe's MUSIC360, and it was during work on this piece that I began to expand that program to meet my particular needs. Conditional Assemblies received 2nd prize at the Bourges Festival in 1981.

Recording of Alejandro Vinao's Go. The text used in "Go" was written by Ian Cross. It consists of 10 phonemes that as a set may form interrelationships analogous to those implicit in the 10 chords of chorale on which the piece based. The most prominent phoneme is the one, which gives the tittle to the piece, and the idea of the piece is to convey the concept of action as an absolute phenomenon in itself, without subject or object.

Recording of Henri Chopin's L'Agrippe des Droits. One male voice reads the poem which is then electronically processed. Written for Christian Clozier.