Recording of Reynold Weidenaar's Twilight Flight. Too solemn for day, too sweet for night, come not in darkness; but come in some twilight interim, when the gloom is soft, and the light is dim.

Recording of Francis Dhomont's À cordes perdues. This work was premiered on August 11, 1977 at the Saint Rémy de Provence Festival by bassist Henri Texier; it is, in fact, at the origin of a mixed music. Inspired by the album "AMIR" by Henri Texier (Eurodisc 913002), it borrows materials, groups, and objects, and proposes to send back an "electroacoustic reflection". During the concert, H. Texier improvised on the tape: reception and/or incentive for the instrumentalist; three-dimensional game between disc, tape and live audio; confrontation of a fixed form and a moving course. Apart from borrowings or quotations, all the sound materials come from the processing of some piano strings. The long final sequence, announced from the beginning, is obtained by coincidence of chains, themselves the result of a "gestural" work inside the piano. Another improvisation of Texier was proposed the next day. The version presented here is specially designed for tape alone.

Recording of David Keane's Ambulator Nemorensis. "Ambulator Nemorensis" was put together as a preliminary study for an experimental film by Nicholas Kendall called Tala. While the actual music used in Tala was quite different from “Ambulator Nemorensis” both are attempts to create an imaginary landscape (or to use Murray Schaefer's term "soundscape"). This piece is an honest attempt to create something beautiful.

Recording of Miklós Maros's Manipulation II.

Recording of Liliane Donskoy's La légende des merveilles du monde. I - Crystal: Bell rubbed with infinitesimal elements that are superimposed causing falls of the inexistent harmonics to the attentiveness of isolated elements. After a break. II - Rock: Sudden burst of macroscopic forms. Some rather short "frozen" sounds, interspersed, gradually lengthen, crumble, melt, merge, and little by little sink into a furious atmosphere, opaque magma. III - The Grotesque Figures of Fire: A random deaf rumble, fine loops, made of crunches and cracklings, on top of strange figures a little irritating like the contact of the flame. Breaths, slight atmospheric whistles, clouds bring: IV - Life in the water: Drops in falls, waters in disorder, worked in various ways, or succession of drops in organized "scales." Multiple shouting figures, often preceded "accompanied" (in the old sense of a kind of counter-subject) by an element imposing the image sound of a circle in a pocket (like the sound that introduces this scene and from which the first drop reflects) or still a shudder of city, brief or not. This entire episode, in several enchained sequences, ends in the swallowing of the sum of these multiple small energies, becoming a unique …

Recording of Myron Schaeffer's Voices and Bells.

Recording of Michel Redolfi's Lune et triangle. Made to lead one's ear in a world of acoustic and psychic duality. Among these dualities, one can perceive separately at the same time or not all the following couples: Concrete / Abstract Far / Near Signal / Noise Anecdotal / Acousmatic Dense / Noisy Pure / Saturated Inside / Outside Tension / Release "Lune et triangle" is the last part of a series of works composed with computer means. Like "Nuit solaire," a digital synthesizer that allowed the integral synthesis of all the physical, temporal and spatial parameters of the work, no studio manipulation was subsequently requested on this synthesis.

Recording of Alcides Lanza's out of... This piece for solo tape is a re-elaboration of unused portions of various pieces by the composer and the electronic sounds were created with the Moog and Synthi AKS synthesizers. The piece refers to primitive forces at play, from the jungle sounds to the city jungle, from the primeval memories to the magnetic forces at play in the galaxies. All the 'human' sounds heard are below the level of semantic comprehensibility.

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.

The specified pitches are made to generate their own accompanying frequencies, generally inharmonic with respect to the pitches themselves, as a result of FM or AM procedures. Each interval, or, in fact, each pitch-pair (or if you don't want to limit yourself to the chromatic scale, each pair of arbitrarily decided upon frequencies) can generate several possible spectra, but the similarity in sound quality between kinds of spectra quickly reduces to a limited number of readily manageable families of chord-types. These chords are the basis for a variety of musically interesting relationships, and this work represents but one of many possible developments of these kinds of sounds. The clarinetist in this recording is Philip Rehfeldt.

Recording of Peter Tod Lewis's Signal Messe. "Signal-messe" is an attempt to make a single coherent "bi-sensory" experience from two independent media expressions. The "performers" were the creators, having long since stored their improvisations on magnetic tape or film. The "mess" of stored "signals" was severely cut, edited, processed, mixed, according to a structure that seemed to be dictated by the material itself (though, naturally, in light of subjective considerations). The structure continued to emerge when the two elements, tape and film, were presented together. It was evident they had much in common: the film seemed, incredibly, a visual analogy of the music, their internal rhythms identical. It remained simply to synchronize the two to match certain salient audio features with video ones. The film is a movie of various video patterns produced largely through video feedback of a black and white system and then converted to color by a video color quantized, a unique device which allows the operator to assign virtually any color to any value in the video grey scale. The film provides a window (a “space gate?”) into a fantastic color world that just might be the same aesthetic realm as that of the sound.

Recording of Jean Piché's Prélude pour fête foraine et synthétiseur. This piece is an exploration of the acoustic structure of a popular festival. The environmental sections of the work come from a binaural recording of a celebratory crowd gathered for the annual parade, Carnival of Quebec City. The moments preserved are those preceding the arrival of the parade. The core of the piece was made in the studio with a MOOG synthesizer, using the temporal structure of the environment as a support. The electronic section passes from a slow, static time (reference to the acoustic macrostructure of a crowd - many internal changes but temporal homogeneity overall) to a fast time where the junction is established with the micro structure of the environment. The electronic synthesis of this last moment wants to approach the organic timbres of the voice and the horns that the party-goers use to sound their loud exuberance.

Recording of Mark Schubert's Goodbye Black. Originally, “Goodbye Black” was to be for percussionist (solo) and tape. However, until I have the percussion part finished I feel the tape can stand alone. It is dedicated to the memory of Henry Black and his unique apartment complex in Iowa City called “Black's Gaslight Village.” - Mark Schubert, composer

Recording of Daniel Arfib's Voyelles d'éveil.

Recording of Arthur Kreiger's Theme and Variations. This piece was not only composed at the Columbia-Princeton Electronic Music Center, but also in its image. The timbral qualities are very thick and defined; the rhythms like an epileptic machine gunner and the pitches right out of another decade.

Recording of Iván Patachich's Metamorfosis per flauto.

Recording of Hildegard Westerkamp's Fantasie for Horns I. The sound sources for this piece are taken from the acoustic environment. They are: Canadian trainhorns, foghorns from both the Pacific and Atlantic coasts of Canada, factory and boathorns from Vancouver and surroundings-horns that Canadians hear in daily life. Additional sound sources are an alphorn and a creek. Listening to the various horns in the collection intrigues the listener because of the way their sounds are shaped and modulated by the surrounding landscape. Some horns echo only once, others many times, their sounds slowly fading into the distance. One foghorn has an echo that is an octave lower than the actual sound, another is an octave higher. A trainhorn's echo is half a tone lower as the train approaches, but the same pitch as it passes. Each horn acquires its unique sound from the landscape it inhabits. This strong interaction between these sounds and their environment gave the inspiration to work with this material. Horn sounds are interesting for another reason: they rise above any ambience, even that of large cities. They are soundmarks that give a place its character and give, often subliminally, a "sense of place." Fantasie for Horns I …

Recording of Fernando Lafferrière's Cercles vicieux. The title "Vicious Circles" is an allusion to the technical means used: the electronic feedback considered as a vicious circle in an amplifier. The piece, in its ternary section, is of a very simple formal conception; in the alternation of movements, moderate-slow-vivid, almost traditional. Brief introduction Intense fluctuating background, extended acute line, all punctuated by percussive elements. Sounding color serene, tender and fresh; Serious threatening darkness obscures this serenity. A great crescendo leads into the final dynamism. On an intense and hesitant background, aggressive, hammered, percussive accents until the final rhythmic culmination.

Recording of Emmanuel Van Weerst's Mimoïde. As written by the composer: "It is only rarely that I approach a theme music like "Mimoïde": an intelligent and gentle ocean seeks to please humans by imitating their thoughts, desires, situations, shapes... It lacks virility and misses its intentions. Its final dive becomes a human tragedy: spinning emotions become inexpressible, the artifice of "Mimoïde" becomes sobbing. Note: the intensification of low frequencies. Train the listener in a horizontal fall. Remove the usual notion of "piece of music." "Mimoïde" is dedicated to Stanislav Lem as well as to Andrej Tarkovsky."

Recording of Bruno d'Auzon's Par la fenêtre entrouverte, “After which I watched through the open window that the number of clouds does not come to exceed what I can grip in the loop of my arms.” This piece, of model variation articulation, draws its basic materials in the four types of sound sources generally used in the electroacoustic composition (concert sounds, electronic sounds, musical instruments, human voice). The initial sampling, however, remains voluntarily restricted within each of these categories (concrete: percussions maintained on a resonant body; electronic: three fixed frequencies, a glissando; instrument: string, isolated percussions and bow interview; voice: two sounds maintained, tonic and breath). The work of variation is essentially located at the level of the manipulations of studio. It consisted of a "transformation" of the basic materials in each of the sequences and even within them while maintaining a permanence of "timbre" and of causality. The articulation systems are provided by a permutation of forms and melodic profiles between two or more initial objects as well as between their developments The piece concludes, after a final isolated variation (very much reduced in time and dynamics), in the progressive superposition of the "hinge" variations in abrupt sequences more …

Recording of David Keane's In Memoriam: Hugh le Caine. Hugh le Caine (born in 1914) died in the summer of 1977 after a life devoted to the world of music. He is perhaps best known for his inventions in the field of electronic music such as touch keyboards, spectograms, serial structure generator, multiplier (play-back equipment), polyphone. He is also important for his works, his assistance in establishing the first electronic music studios in Canada (at the University of Toronto in 1959 and at McGill University in 1964) and certainly for his vast knowledge in many disciplines and his generosity to share this knowledge, accompanied by encouragement, with the many composers who were in contact with him. "In Memoriam: Hugh le Caine" is dedicated in recognition by a composer indebted to Doctor le Caine. This work is derived from two extracts of "Dripsody" from le Caine (1955).

Recording of Antero Honkanen's Tapporaha.

Recording of Dubravko Detoni's Phonomorphia I. Synthetic music based on the elements of the human voice and percussion. Two fundamental layers moving from positions of opposite heights meet in the middle and separate starting in different directions. This concrete and electronic study was developed at the Experimental Studio of Polish Radio in Warsaw.

Recording of Dubravko Detoni's D. A radio composition for prepared harpsichord and magnetic tape with modified sounds of the harpsichord. It adds a tape made with the most different sounds coming from the harpsichord. The work consists of cadences and refrains constantly changing. The harpsichord alone performs the cadence (the center of the score), while the choruses (at the margins) are performed by the harpsichord and the tape. Each cadenza has a different disposition: ecstatic, resigned, imperceptible, hysterical, ironic. They reform to the refrains which represent another shade of gray each time. The ideological center of the composition is the sound "D" (re) which represents the individual, the protagonist around which the musical event takes place. Around its sounds accumulate sound layers (like the center around the man), which are realized on tape, that represent or give the association of a kind of distant universe.