Recording of Alfredo Marcano Adrianza's Dencias. “Dencias” was realized at the Laboratory of Electronic Music (CICMAT) of Buenos Aires. The work is conceived as a large surface of electronic sounds that appear and disappear in different harmonic combinations, on a resonant background of delicate character, formed by percussion sounds of instrumental origin. The slow, somewhat hypnotic unfolding of the work is sometimes interrupted by the violent appearance of fortissimo attacks.

Recording of José Vicente Asuar's Amanecer. “Amanecer” is formally a very simple work. Through this and other works, I try to project the possibilities of electroacoustic music in a sonorous universe where harmonic intervals prevail and a formal concept not far from impressionism. For a long time I experienced, as other composers have, new possibilities of sound and structure, matter and musical form, with electroacoustic sounds. I have not abandoned the search, but I want to choose some things in works that are simple and easy to listen to for any auditor. This is the reason of being of works like “Amanecer”: a break in the path of a creator. From a utilitarian point of view, “Amanecer” is thought of as music for ballet, as an introduction to some work of greater encouragement that is still to be written.

Recording of José Vicente Asuar's Amanecer. Amanecer is a formally very simple work. Through this and other works the composer projects the possibilities of electroacoustic music in a sound universe where harmonic intervals and a formal conceptualization not far from impressionism prevail. The rationale behind works like Amanecer is a break on the path of a creator. From a utilitarian point of view, Amanecer is intended as music for Ballet, as an introduction to some more breathtaking work that is yet to be written.

Recording of Bruno D'auzon's Par La Fenêtre Entrouverte. This piece, varying in articulation, draws its basic materials from the four types of sound sources generally used in electroacoustic composition (concert sounds, electronic sounds, musical instruments, human voice). The initial sampling however remains intentionally restricted within each of these categories (concrete: sustained percussions on a resonating body; electronic: three fixed frequencies, a glissando; instrument: string, isolated percussions and bow maintenance; voice: two sustained sounds , tonic and breath). The work of variation was therefore essentially situated at the level of studio manipulations. It consisted of a "transformation" of the basic materials in each of the sequences and even within them while keeping a permanence of "timbre" and causality. The articulation systems are provided by a permutation of shapes and melodic profiles between two or more initial objects as well as between their developments. The piece concludes, after a final isolated variation (very reduced in time and dynamics), in the progressive superposition of the hinge variations in abrupt sequences that come closer and closer then in a tutti crescendo .

Recording of Natasha Barrett's Buoyant charm. This work is for electroacoustics and mixed ensemble and explores the relationship of instrumental timbre and acousmatic sounds. The composer discusses the importance of spatialisation and notes that the number of performers and the size of their instruments resulted in a relatively large spatial occupation.

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Recording of Peter Beyls's Rothko. "The most important tool that the artist shapes through his constant practice is the belief in the ability to produce miracles when they are needed.” – Mark Rothko, “Possibilities” 1947 The 3 parts that constitute the work have a different macro-structure. They have a fundamental common interest in the color of sound. The work evolves from an extra-musical point of view: my interest for painters of colorful American plans, in particular Newman and Rothko. Both emancipate and materialize the color factor as the essential object of their work. In the work of Rothko, the hand that paints can always be felt through an acute logic of austerity, in the long run. The evolution of character of Rothko's work: his early works are based on a concrete starting point and his "transcendental rectangles" make up the central period of this work, the remarkable crystallization between content and form gives his work a preponderant place in post-war abstract painting. The electronic work "Rothko" confronts us with the form and certainly not the content of the work of Mark Rothko. I want to emphasize, however, that I did not pursue the idea of translating the image into sound. …

Recording of Peter Beyls's Rothko.

Recording of Lars Gunnar Bodin's For Jon - Fragments of a time to come. The work is a dramatic cantata, with vocal sections for both chorus and soloists alternating with recitatives and instrumental interludes. It is based on a series of texts characterized by a kind of "surrealistic science fiction" testimony and reports about experience in other worlds, real or imaginary. The texts are never sung but are often melodically "coloured", "composed" with the aid of electronic means. The composition also includes a mixed chamber chorus of twelve singers and a soprano soloist.

Recording of John Anthony Celona's Lo Canto del Planeta. Lo Canto Del Pianeta (the song of the planet) is a computer-generated composition in four channels based on the digital software synthesis of complex waveforms using the principle of frequency modulation. Timbral complexes result resembling "natural" instrumental timbres. The auditory images are essentially: brass-like, reed-like, bell-like, and percussion-like. Rhythmic relations, in particular crisp attack cues, and distinct timbral images are used within a sound mass (e.g., the aggregate of carillon sounds), and individual voices are triggered at different time-points crating sub-patterns of melodic and rhythmic interest. Simulated tape delay (e.g., using envelopes of various attack and repetition) is used to build rhythmically varying polyphonies. Four different tuning systems are employed to produce deviations in intervallic relationships. The systems are: Pythagorean, just, mean-tone, and equal-tempered.

Recording of Joel Chadabe's Setting for spirituals.

Recording of John Chowning's Stria. The work uses the processes of computer synthesis to precisely control the spectral components - the partials - of sound. A non-tonal division of the frequency space is based on the golden ratio which is also used to determine relationships between inharmonic spectral components. Chowning received one of the Institute for Research and Coordination in Acoustics/Music's (IRCAM) first commissions to compose a piece for the first series of concerts of the Institute (which was presented by Pierre Boulez in Paris of 1977) at the initiative of Luciano Berio. Stria was composed between the summer and autumn of 1977 at the Center for Computer Research in Music an Acoustics of Stanford University.

Recording of Francis Dhomont's A Cordes Perdues. This work was premiered on August 11, 1977 at the Festival de Saint Remy de Provence by the double bass player Henri Texier; it is, in fact, at the origin of a mixed music. Inspired by Henri Texier's album, Amir, it borrows materials, groups and objects from this record and sets out to return to a electroacoustic reflection. During the concert Texier improvised on the band which he had only acquainted me with a few hours before: reception and / or incentive ranges for the instrumentalist; three-dimensional play between disk, tape and live; confrontation of a fixed form and a moving course. Apart from the borrowings from the record or the quotations, all the sound materials come from the treatment of a few piano strings. The long final sequence, announced at the start, is obtained by the coincidence of chains, themselves the result of gestural work inside the piano. This version is specially composed for tape only.

Recording of Joseph Dorfman's The Stones of Jerusalem, in three sections, "Galeed"--based off of Genesis 31; "Altar"--based off of Exodus 20; and "Tables of Testimony"--based off of Exodus 31 and Exodus 34.

Recording of John Elmsly's Diamant for electronic sounds. Diamant was composed in 1977, using a Flemish poem written and read by Chris Dries as text. Using a simple bank of tuned oscillators, a sequencer pattern to modulate an oscillator, and very simple tape manipulations to leave the words as intact as possible the work is intended as a meditative coloring of the poem. The tape was realized in the IPEM studio in Gent, Belgium.

Recording of Luc Ferrari's Presque rien n°2. The composer describes this piece as a narration but without storytelling; instead, insinuating the passing of time through events. The intention to tell a story is there, but remains vague.

Recording of Patrick Fleury's Muinkkaai 45. "Muinkkaai 45" is also the address of the IPEM studios in Ghent (Belgium).

Recording of Ludmila Frajt's Nocturno.

Recording of Eugenio Giordani's E'Tape. The composition is a study on the available possibilities offered by the properties of interconnection of the analog systems for sound production at the LEMS (Electronic Laboratory for the Experimental Music). Besides this, E-Tape explores two different techniques of spatialization of the sound through the standard quadraphonic reproduction. The piece is formally organized into various sections, each based on a certain type of synthetic sounds material, characterized by an introduction (presentation of the materials) and closed by a final recapitulation. All the material used in the various sections come out from sequences of filtered, ring modulated, reverberated sounds, and a lot of cutting tape. One of these sequences, turns out like a kind of thematic element since it is several times reused and developed during the whole composition. This “pseudo-thematic” element was generated from a special frequency modulated process including three periodic waveform and a random generator. The circular spatialization is realized in two different way: the first one was used four ring modulator arranged as sequential gate for the control of four independent loudspeaker. The other method employs the equal delays of the four independents heads of an AMPEX AG-440: the source is fed …

Recording of Lucien Goethals's Pluriversum. Work was produced at IPEM, using 2 sequencers. The materials were sinusoidal, square and triangular waves, and the transformations were filtering, transpositions, frequency modulation, manual editing. Quarter-tone composition, constructed from a single basic figure of 24 sounds, whose multiple transformations are organized in 49 sequences, divided into 3 sound layers. The variable superposition of the 3 layers can give rise to a considerable number of slightly different versions of the same composition. It is the continual interpenetration of a number of systems related by their sound substance but at the same time autonomous, each having its own structure and periodicity. This work is dedicated to Françoise Barrière and Christian Clozier.

Recording of Lucien Goethals' Tres momentos musicales. This work was composed for the Belgian violinist Walter Lievens. A violin is meant to play counterpoint to each of the three pieces within the work. The electroacoustic track was created with the Synthi 100 and synthesized violin sounds.

Recording of Ross Harris's Shadow Music. A single sound source--an orchestral chord--is used to generate all the materials and sonority of this piece. The work is in one movement in which the source undergoes continual transformation through speed changes, modulation, and filtering. The devices used to make this work: variable speed tape playback, filters, ring modulation, and tape recorders.

Recording of Samuel Headrick's Concertante for Violoncello and Magnetic Tape. It is aggressive and decisive in nature with sections that emerge from and evolve into one another, giving the piece a feeling of inevitability. The title describes the concert-piece in which both instruments are used in virtuosic solo capacities. It was inspired by Brahms's Symphony Number One, First Movement and Alfred Lord Tennyson's "Ulysses."

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