Recording of Benno Ammann's Mouvements.

Recording of Benno Ammann's Mouvements. Realized at the Ipem Studio in November 1976. Two main structures, computer-controlled (and partly alienated and distorted), form the basic material of the piece, and are mixed, varied and transformed into new sound formations in an aleatoric process by means of high-low filters, tempophones and feedback subjected to variable time. Contrasting sound elements (more figurative characters), produced on the apparatuses DATAPULSE and WAVETEK of Ipem’s studio, accompany the main sections parties principally by variation and increasing movement in ever changing time.

Recording of Peter Beyls's Evolution inexorable et environnement humain.

Recording of Jeff Bossin's Studie I. The composer's first electronic work, composed in 1975. It represents a study in the development and structuring of material derived from three phonemes.

Recording of Jeffery Bossin's Studie I. The composer's first electronic work, composed in 1975. It represents a study in the development and structuring of material derived from three phonemes.

Recording of Gabriel Berncic's "Chile Fertil Provincia..." Electronic and instrumental sounds, recorded and processed onto four tracks, make up an autonomous flow. To this are added percussion, viola, double bass, tumbadoras and voices, these instruments-persons bringing new visions to the ensemble through the free creation of sequences and/or parallel discourses. "Chile fertil provincia" is the opening line in Alonso de Ercilla y Zœ–iga's La Araucana, the long epic poem which was the first to tell of the conquest of this remote West Indies country in Spanish American literature. It is an allegory about the motherland in ancient and recent times: Latin America told through scenes whose chronology does not obey any absolute historical time. Beginning with a futuristic ancestor and passing through different vassalages, a synthesis forms which evokes the oldest of traditions and aspires to be a binding hymn of the peoples. The titles of this staging music are, in order of performance, as follows: The Woods of Our Ancestors and of Those Yet to Come, The Conqueror's Cross of the South, The Piano of the Inquisition, La Moneda del Valle de Yuro, Jail and Disappearance, The Broad Boulevards Will Open Up. This work, revised several times and finally …

Recording of Lief Brush's Treesway Solo. The only coloration that was employed in early sound handling was through equalization, balancing and combining mix-downs. Structure-wise, the piece centers around spaces in spaces, scale and proportion and the composer's soundworks effect an awareness of the psychological effects of sounds, for instance, from trees and wind transformation via the composer's windribbon. The basic groundwork includes several recyclings of the TerraInstruments including the signal discs, selfbroadcasting trees, lased raindrops and windribbon variations in an attempt to express the voltages from natural sources as recontextualized audible constructs: offering personal connections to the long term aural memories of earthguests.

Recording of Leif Brush's Treesway Solo. “After an intense period of analog familiarization with the range and enormity of available sounds extraterrestrial and in nature, I tried the only techniques then available to me, tape manipulation and speaker placements. The only coloration that I employed in early sound handling was through equalization, balancing and combining mix-downs. I have always monitored from nearly neutral sensors, and my interest has been in trading, configuring and juxtapositionings and in the presentation of sound in natural and climatically different contexts, mainly exterior and in real time. Within the 1980s, I worked with 200-speakers using an Intel 8080 microprocessor used for satellite teleperformances, with collaborators and in outdoor "studios." Structure-wise my work centers around spaces in spaces, scale and proportion, and my sound works’ effect on awareness of the psychological effects of sounds, for instance, from trees and wind transformation via my wind ribbon. I am concentrating on conceptualizing a segue from Internet to real time with on-call two-way availabilities of my data-laden resources. My basic groundwork includes several recyclings of the TerraInstruments, including the signal discs, self-broadcasting trees, lased raindrops and wind ribbon variations in an attempt to express the voltages I seek from …

Recording of Rodolfo Caesar's Tutt frutti.

Recording of José Luis Callejo's Espai Sonor for oboe and tape, performed by Gabriel Brnčić, oboe.

Recording of Tony Van Campen's Sintering.

Recording of John Anthony Celona's Timbral-Orchestral.

Recording of Edmund Cionek's Abracadabra.

Recording of Matthew Crowe's Kiwi Mesh.

Recording of Hugh Davies's Natural Images. This is the first of two compositions related to the sounds of the animal kingdom (two more are planned), and it was originally composed for a dance group. The different sections of the piece evoke but do not exactly imitate various sound-worlds from nature.

Recording of Marcelle Deschênes's Moll (opéra-lilliput pour 6 roches molles). An open composition, MOLL (“Soft”) is presented in its full version as an outdoor show and "plain-breath" in 60 beaches, known for: 1) mimes or dancers 2) mobile and sound decors, and floors with sound 3) wind, blast, white noise 4) acoustic instruments (vibrating air, percussion) 5) live electronic instruments 6) magnetic tape (concrete sounds not transformed: insects, water, birds, boat, etc.) electronic sounds, musical quotes (Debussy, Berg, Wagner, Mozart etc.), manipulated sounds 7) sounds of mouth (partial or total live transformation) 8) a child (toys of children). This piece serves as a large group of associations from different levels of human experience. Of a plural nature and structure, this piece constitutes a mosaic made up of the juxtaposition of polymorphic and heterogeneous elements borrowed from models and systems of formation and transformation (cosmogonic, mythological, symbolic, atmospheric, oceanographic, astronomical, geological, musical, etc.) which, by association, can be put in relation with the rocks and their environment.

Recording of Francis Dhomont's Métonymie ou le corps impossible. Two possible readings: 1) "Metonymy", figure of rhetoric; "An object is designated by the no of a similar object". Uses 4 families of sound sources: musical instruments, voices, concert and electronic sounds. Most sound objects are "diverted" from their context; in this lies metonymy. Each family offers collections of objects cutting the duration in pulsed time/smooth time by contrasts, oppositions, slips ... It is also a discourse by associations (one sound calls another). The voice neglects the "discrete units" of language to retain only the prosodic features. 2) Impossible route of a "body" (figured by vocal fragments) locked up, dissolved (murdered?). In another body/place, which unceasingly defeats, tears, covers it. The voice is always spoken out of meaning in a kind of primary glossolalic act. Drift impulse momentum engulfed after multiple attempts of emergence. 4 Parts: 1 - 1'45 Instrumental / vocal / concrete / Electronic 2 - 6'27 Pulses / iterations / cells / groups + 2 'rests' 3 - 4'17 Large notes + mixed variations 4 - 5'02 Frames + coda

Recording of Francis Dhomont's Espaces sonores pour des textes de Jean Tortel. This piece begins with the poet himself (Jean Tortel) reading his poem aloud and then exchanging verses with a female speaker. Instrumental sections of music fill in the gaps between the speakers or play softly beneath the spoken voice.

Recording of Jacques Diennet's Création mondiale. This piece is a synthetic prelude with a classic form. The composer used wide sound tracks/slides to spread concrete and electronic sound plates.

Recording of Joseph Dorfman's De Profundis.

Recording of László Dubrovay's Mouvement éternels. The work is part of a series comprising 3 pieces. The musical material of the three works is the same, drawing its origins in the coding of 4 numbers. It includes 8 layers. Each layer has another tempo in the internal movements/repetition/modulations of the timbre and movements of spaces of the sounds in the version 4 tracks. Modulations were made by Synthi AKS at EMS. Work done at the electronics studio of Magyar Radio Budapest.

Recording of Enström's Phases - Events

Recording of Patrick Fleury's 12 heures 45 minutes.

Recording of Sten Hanson's La dernière nuit de Robespierre au 197'0.