Recording of Patrick Fleury's Reflux. This piece was completely generated on the New England Digital System at Marseilles. Then, the composer transformed all the basic materials in the analogy-mixing studio at IPEM de Gent. Studio of realisation: Groupe de Musique Experimentale de Marseille for the generation on New England Digital System. Institute voor Psychoacustica en Elektronische Musiek for all treatments and mixing.

Recording of Peter Wessing's 8 Deutsche Tanze.

Inflatable monumental sculpture and piece with eight channels, public show by Antonio Russek and Enrique Luna commissioned for the inauguration of the América Seguros building on Revolucion and Altavista Avenue in Mexico City. Also presented during the Cuba-Mexico Electroacoustic Music Meeting, at the Museum of Modern Art and other forums.

This work is performed on the Fairlight CMI with the output first processed by a Lexicon PCM 70 MIDI-controlled digital effects processor then by a Lexicon 224XL digital reverberator. The PCM 70 is in a "resonant chord" program, the 224XL is in a concert hall simulation program. With the exception of the glockenspiel, all of the fairlight sounds were created by extensive vertical layering of complex sampled sounds. These sounds, often as many as ten layers of orchestras, electric guitars, choruses, etc., were the first material for the thinning process of the PCM 70 resonances. The six resonances are all controlled by one MIDI controller which has a different scaling factor (degree of effect) for each one's pitch center. As a result, changes in the overall pitch area of the processor also change pitch relationships of the resonances. The sounds alternate between processed and unprocessed, with the glockenspiel usually acting as a signal of impending change or return to the melodic theme.

Recording of Michael McNabb's City of Reflexion.

Clair-Obscur, commissioned by the Musical Research Group, was composed in 1981-1982. The title refers to the chiaroscuro found in Rembrandt's works: the play of light and shadows that suggests a quasi-autonomous life on the surface of these paintings. In the composition, we find this game, realized in the sound matter, on the surface of which there are perpetual changes of nuances, colors and rhythm. Throughout today's western idiom and the technical means employed, we can hear distant echoes of certain popular music without being able to locate them. Thus very old and very current sources are integrated in a new sound world.

Looking for the fusion between the path and the band "le Tombeau de W.Byrd" attempts to contrast the instrumental character of Byrd's pieces with the various identities of electroacoustic music. Thus, the two writings do not meet, they coexist: one is a point of definition of the other, one is necessary for the existence of the other. Separated by small harpsichord pieces from William Byrd's "Battle", five electroacoustic sequences offer a journey into the world of loop music. Would "Tombeau de William Byrd" not be the opposite of mixed music?

Recording of Philippe Menard's Conte à Niro II.

Recording of Karen Rehnqvist's Musik für värt klimat

Music for a fantastic choreography of black holes. Here are its parts: dancing black holes play the mirliton, the trumpet and the jew's harp; devouring black holes forge protons; vociferous black holes engulf birds and animals; black flutes fill the cold holes with blood; proton saws trump water; fluttering forges arouse black voices.

The Snake Oil Symphony (a metaphor for capitalist social relations, was composed in 1981. The first three "movements" of the Symphony establish the basic themes, along with an underlying rhythmic structure that crops up again and again throughout, as the tempo and pitch of phrases are used to create a sort of melody. Part One presents the surface reality of society as an endless movement of buying and selling, through the use of clips from a sales instruction talk, ads and so on. Woven through this is an ironic verbal-musical motif: "Now you can have this amazing new symphony, right in your own home," (which parodies cheap TV commercials), with piano notes underscoring the spoken pitches. The word "symphony" refers not only to a single work of art, but in the greater sense to "a mighty symphony of prosperity" (i.e. present social and cultural institutions). With the same phrase the composer is also letting the listener know that he knows his own work, too, is a commodity on the culture market. Part Two is built around a multiple pun on the words "alien" and "alienation." "Alienation" originally meant "sale." Marx used the terms to describe the way people give up …

Recording of Denis Smalley's Vortex. "Vortex" focuses first on the types of sound movements that suggest analogies and vortex images, sound objects, textures, and patches of fast-moving sounds, often around an axis. Such movements can evolve in a variety of directions: they can be let go or played. They may have a combined action or follow each other or be engulfed by events of greater strength. The sound events of various attacks, dimensions and orchestrations give vocal points to the movement. They signal climates, initiate changes of direction or change of quality while evolving in their movement. Order of Tim SOUSTER with the help of the Art Council of Great Britain

Recording of Wes Richard Wraggett's The Trials & Redemption of Henry.

Spaces first, they coexist, they pass from one to the other, mix, then, a break, the dimension is different: we have entered the micromonds of the sound that develop, as if the spaces had become immense -

Recording of Zoltán Pongrácz's Madrigal for tape. The aim of the composer was to create a madrigal, one of the most aristocratic of the choral genres of the Renaissance, through electronic means. He uses the characteristics of the Italian madrigal as an element of the musical color to create effects of the Gothic choral music. The raw material is based only on the recitation of the sonnet, as well as on sounds sung at various frequencies by the choir. Pongrácz also calls this work a concerto, but not in the traditional understanding of the genre, particularly in the case of the conception and the formal structure; he calls it such because of the contrast between the cymbalum and the spectra of the oscillators. Madrigal was realized at the Studio for Electronic Music of the Hungarian Radio in Budapest.

Recording of Coriún Aharonián's "Esos silencios" ("Those silences"). "Esos silencios" are the silences of our daily vital experience of the seventies in almost all Latin America. "We do not desire them, but they surround us always, until we finally succeed in breaking them," Aharonián wrote. It exclusively uses materials of microphonic origin. Some of the sounds have been made with instruments constructed in Guatemala by Joaqu’n Orellana. The decision to bring to life the piece at that historic moment was convergent with the emotional experience that the pricking edges of the delicate drawings by the Argentinian-Uruguayan Mar’a Carmen Portela and the gagged yell of the dramatic paintings by the Uruguayan Hilda Lopez. In Esos silencios there is a will to establish large, apparently static, areas, with latent tensions, in a structure of full hard edges, almost without the concession of transitions.The piece was originally composed in 1978 and was revised in 1981. It was realized in Elac, the studio of Montevideo. The materials of departure have been produced by the author

Recording of David Porter's Walking Bells for tape. The piece is a tour through an environmental/concrete landscape. It is another variation on the "cumulative form." This is the second in a series of four tape pieces. As with all these pieces, this piece comments on political and compositional methods and devices. In this instance, the piece makes reference to another composer whose style is borrowed. Other than that, it is pure experience. This piece should be listened to with speakers placed well apart and volume up the the highest comfortable level at the last two minutes of the piece.

Recording of Fernando Condon-Garcia's Suiana Wanka for tape. This work collects and develops independently the materials of a music scene for Peter Shafer work "The Royal Hunt of the Sun". It is based exclusively on sound recordings of various Latin American instruments such as the Indian flute, pincuyos, sicus, tarkas, mohecenos, various kinds of percussion, etc., to which are added, during some passages, instruments from European culture (organ, flute, bass). The original sound was made in a professional studio, and the final realization was made in ELAC, a small Montevideo studio, with the technical assistance of Carlos Da Silveira.

Recording of Frank Royon Le Mée's "Troisième doxologie Saint Sébastien" ("Third Doxology Saint Sebastian"). The piece is an electronic postlude in three stanzas.

Recording of Jarmo Sermilä's "St Henry's Tribe Memorial Anthem" for tape.

Recording of Bohdan Mazurek's 6 electronic preludes for tape.

Recording of Martin Sierek's Quadratwellenklangwurst. The piece is based on micro-intervals through the use of square-wave oscillations. These exact intervals were only achievable with a digital rectangle generator. In the composition, the higher pitched parts of the two harmonies are fed to the cohesive basic tones and a whole sound becomes a glittering sound spectacle. The intervals and the number of individual rectangles constantly increase during the composition and generate acoustic phenomena and end in a cluster. The only "ordinary" intervals, a big second after and then a minor third, are just decoration.

Recording of Stephen Montague's Scythia for electronic tape. Scythia was a region of Central Eurasia in classical antiquity encompassing parts of Eastern Europe east of the Vistula River and Central Asia, with the eastern edges of the region vaguely defined by the Greeks. It was thought of as the great land of education. It was also the place where Prometheus gave fire to man and where he was confined to be tortured by the gods for this. Every day an eagle came and tore out his liver and every day he endured.

Recording of Will Eisma's "Le grand silence d'un seul oiseau" ("The great silence of a single bird") for tape. During World War II, a network of 40,000 km of trenches crossed South Flanders and the North of France. Still today, there remains part of these trenches as a long underground tunnel somewhere around Metz and Verdun. The composition represents an imaginary underground journey from Calais to the Swiss border, through the infernal moles, in the gloomy and frightening obscurity of this absurd war. The poem of Ab Van Eyk tells of these horrors: "Someone walks forward, slowly spitting out his lungs, while a bird pass near me, the gas ......... The night shows fiery angels, among the lights of the "no man's land "; until the twilight silence arrives, the great silence of a only bird, just before sunrise raspberry color." The piece was composed and realized in the studio Five Roses in April 1981.