Recording of Christian Zanési's Profil - Desir. This is a work for electronics. When describing this piece, the composer included a quote from Alfred Hitchcock.

Recording of Eduardo Pérez Maseda's Take me away. The axis of this work is a text by the Italian writer, Italo Calvino. This text was taken from the novel, "Il barone rampante", and includes both English and Spanish.

Recording of David Keane's Pianocentrix. Pianocentrix was composed in the summer of 1988, using facilities from the composer's analog electroacoustic music studio in Scarborough, Ontario. The work was commissioned by David Olds for Radio CKLN-FM in Toronto (Ontario) with the help of a grant from the Ontario Arts Council. Pianocentrix premiered on radio on September 26, 1988 as part of David Olds' contemporary music program, "Transfigured Night."

Recording of Thomas Gerwin's Alice. This work is inspired by special and unique personal memories, which cannot be restored later in life. There is pre-recorded audio of everyday sounds and voices and samples, which interrupt these field recordings.

Recording of Roger Doyle's Trapeze in full -Moon nights: four acts from an imaginary circus.

Recording of Octavian Nemescu's In Par. This work is for trombone and tape. The title enigmatically announces in a condensed form with the presence of the Hell (infernos) and of Paradise. In the first part a descension takes place, a descent into inferno until paroxysm. Everything develops in a shape of an arc, circle, and wheel. The sonorous flow creates time polyphony.

Recording of Hans Ulrich Humpert's Approcci a petrarca. This work is made up of five sections, which are voice and electronics. The piece features many sounds such as voice, electronics, writing with a pencil, and sound effects.

Recording of David Sheppard's The first laugh (images of laughter). This piece used human laughter and the word laughter as its sound sources. It is a composition that examines the musical and emotional possibilities or qualities of human laughter. There is an amusing and disturbing sound to the piece and the listener should not be ashamed to contribute to the sound world.

Recording of Pedro Guajardo's, Voces de le Electricidad. Originally conceived for a dance performance with the subtitle "lesvos" as the island in Greece. The sound source in this piece is mostly a classical guitar played in different ways and manipulated in the studio, and a feminine voice reciting a poem. The composer's goal in this work is to be able to hear the music within the music, a line or layer that comes out in magic voices from transforming and filtering the acoustic material through Buchla components.

Recording of John Duesenberry's Tracers. Tracers is conceived as electronic chamber music for a small ensemble consisting of a "virtual soloist" and a "ripenio group". The soloist is given monophonic material - by turns lyrical or virtuosic - on an "instrument" whose mutable identity derives from sampled and synthetic woodwind and brass sounds. The ripenio group is made up of synthetic plucked, percussive, and sustaining instruments, and usually has the role of supporting and underlining the soloist's statements.

Recording of Richard Karpen's Time frames. This work is inspired by a book of the same name by the paleontologist Niles Eldridge. Karpen felt that there was an affinity between his theories and his way of approaching music and composition. It is like a symphonic work, in both its form and the nature of the sound materials.

Recording of Nicolae Brînduș's Archaeusin Euphonia. In this work, the electronic-music is a play back for the performance "live" of the musicians. Their involvement in the play is more or less free or proposed by the leader of the group. The recording is a version dedicated to the group "Archaeus" of Bucharest conducted by Liviu D_nceanu.

Recording of Frances White's Valdrada. "Valdrada" is based on an excerpt from Le Citta invisibili" by Italo Calvino. Calvino's book is a collection of prose poems, connected by the scenario of Marco Polo telling Kublai Khan stories of the fantastic cities which he has visited. The piece is based on Marco's description of Valdrada, a city built upon the shore of a lake. Marco tells of how an arriving traveler sees not one but two cities : the "real" one above and its reflection in the water below ; he then explains the peculiar awareness which the inhabitants of Valdrada have of their reflections in the lake. So great is their obsession with these mirrors of themselves that it becomes not so much their own actions and passions which are of importance to them, but those of their images in the water. Finally, Marco tells of the relationship between the city and its mirror : "the two cities live for one another, their eyes locked together, but there is no love between them". In composing "Valdrada", Frances White wanted to draw upon the imagery, atmosphere, and poetry of the text without creating an explicit "setting" of it. In particular, the …

Recording of Anna-Elizabeth Hinkle-Turner's American Made. It is an electroacoustic piece using various English and Japanese sound fragments to recreate the sound of a motorcycle's exhaust.

Recording of Elżbieta Sikora's A Peine le Temps Que Dure une Vision.

Recording of Jean-Claude Risset's Attracteurs Étranges, performed by Serge Conte, is a computer-produced piece for clarinet and tape. The piece has four sections of unequal lengths: I. Initial (about 7 minutes), the sonorous pitches gravitate above a high B - a point attractor; II. Vocal (about 2 minutes and 35 seconds, A brief encounter between the clarinet and the voice of Daniel Arfib, slowed down, noisy, hybridized with the instrument; III. Vertical (about 5 minutes 20 seconds), the clarinet energizes strained string-like filters, then turbulent multiphonic sounds echo deep, charged inharmonic sounds; IV. Horizontal (about 6 minutes and 30 seconds), here melodic aspects dominate: the clarinet dialogues with its illusory shadow, some figures appear at different scales, such as in fractal structures. The piece was commissioned by ARCAM at the request of Michel Portal, for his "carte blanche" during the Biennale d'Hy res 1988. It appears, recorded by Serge Conte, on the CD Prix Magisterium, Bourges 1998, Cultures Žlectroniques 11, IMEB / UNESCO / CIME. The soloist dialogues with a band which at times echoes him, and which at other times contrasts with him. Part of the sound material of the tape comes from musical phrases recorded by Portal and …

Recording of Alcides Lanza's ...There Is a Way to Sing It... This piece uses extensively the voice of actress-singer Meg Sheppard, reciting, singing, and improvising on "Power Songs", a poem by the Canadian poet Norbert Ruebsaat. The piece used the following equipment was used: Mac SE, Akai S900, Yamaha digital synthesizers TX81Z and DX5, Lexicon LXP l, Revox TRs, Casio DAT recorder, Sennheisser 421 mikes, software by Opcode [DX edit. Libr.], Sound Designer (Akai), Master Tracks Pro (sequencing). ...There Is a Way to Sing It... was realized with a grant from the Canada Council for the Arts at the request of David Olds, CKLN radio, Toronto. Created at the SHELAN studios, Montreal.

Recording of Ian Willcock's For the Republic.

In Refrains, three types of materials, characterized and differentiated by rhythm, melodic contour, pulse and contour, collide and interrupt each other. The trombone and tape parts work together to articulate the form and shape of the piece resulting in combinations and exchanges of their materials and energy. The tape part is based on three source sounds: trombone attack with Harmon mute; trombone sustained tone, open; double-bass pizzicato. Refrains was composed for and dedicated to, Martin Harvey.

This piece may be considered to be musique concrète. It also incorporates the features of Spiel-Hören. The female voice is used both as an exclusive material for the digital signal processing, and as a means for dramatization of the excerpt from Jan Lechon's poem Rendez-vous. The tape part is juxtaposed with the string quartet which gradually diverges from the tape, establishing its own distinct musical idiom. The voice has been digitally recorded, then cut into short fragments. Each fragment has been processed by a variety of signal processing software and hardware. Subsequently, all splices of the processed data have been pasted together and mixed into the four track tape. The string quartet parts are written with the varying degrees of rhythmic freedom. The string quartet ultimately diverges from the tape into baroque stylistics - these, however, being of an unusual pointillistic texture; other compositional techniques are also used to deform the original baroque template. The piece confronts three basic compositional problems: determinism vs. aleatorism, meta-conventional treatment of musical idioms, and use of different levels of deformation as a means for musical development. My deepest gratitude goes to Dorota Kwiatkowska-Rae, whose voice has been used both as material for signal processing …

Recording of Reinhard Lakomy's Die Himmelferhrt des Salvador Dalí.

The electroacoustic piece 'Etapper' ('stages') is based on a text selected from the novel 'Kontrapunktisk' by the Norwegian writer Ole Robert Sunde. In the piece the spoken and whispered sounds from the writers reading of the text have been transformed, mainly by the use of digital and analogue filtering, echo and reverb techniques. Transitions of noise, also derived from these vocal sounds, have been used to mark the hidden transfigurations that lead the development from one stage to the next. 'Etapper' is commissioned by The Norwegian Centre of Writers. It received 1. and 2. prize in the International Rostrum for Electroacoustic Music in Stockholm 1988.

The title is only a loose reference to the story in the Bible. What interests me about the story is the idea of a large mass of people knocking down a wall through the use of sound. The story gives credence to the notion of music as a catalyst for social change. Beyond the sheer physical impact that a large number of sounds contain, the music is a form of language which is capable of creating thoughts. The power of music lies in the simultaneous physical and intellectual seduction of the listener. In the composition, four hundred tracks of sound are often assembled to create the sense of a large mass. Three hundred and thirty-three tracks are created by dividing each of the seven octaves into fourty-eight notes. Brass, string, and wind instruments from the Western musical tradition and from other cultures are combined to create these textures. The remaining tracks are made up from the unpitched percussion instrument families. The working method allows each track to have its own identity in terms of frequency and tempo. The relationship between each individual layer and the mass effect can act as a metaphor for the relationship between the individual and society. …

This is a real-time performance of computer. This piece's "Structure" (changing with time of the density of sounds, distribution of sound-frequency, character of the sound-space, etc) was decided by translation and adaptation of the results of Monte Carlo simulation about the ecological concepts -birth, growth, death, etc-. It's used here to suggest a systematic but multiply stimulated study of materials and their organisation. Many scales and tunings consist of re-construction of the frequency-values as the results of random operations. And this scales change with time.