Recording of Carl Bergstrøm-Nielsen's "11 september." The text is from a document called "What is MIR?" which was sent out illegally in Chile in 1974 and from the appeal of MIR two years after the taking over by the junta, on September 11, 1975. A left-wing party, MIR stayed in Chile in order to contribute as efficiently as possible to the building of the opposition. Other sound material also includes sounds from a typewriter and a demonstration at Bastad, Sweden in September 1975 at a tennis match between Sweden and Chile with more than 4,000 participants. The text is taken in small excerpts from the document in Spanish, English, Swedish, Danish, French, Dutch, and Icelandic. The piece consists of three sections overlapping each other gradually, which shows the relationship between the spoken words and the immediate danger connected with that text. The first section "as a spontaneous statement," deals with the document at its direct background: the silence is broken, in spite of the danger connected with the writing, manifolding papers that criticize the politics and methods of the junta and discuss the strategy of the opposition. The second section deals with the document as a medium of discussion. At …

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 Denis Lorrain's L'Angélus. This piece is of a fairly free design and naturally exploits passages of contrast or homogeneity between the tape and clarinet. The tape is composed of electronic and concrete sounds, including sounds from the clarinet itself. The development on two channels of the tape is opposed to the fixity of the interpreter situated between the two speakers. In a live presentation, this piece tries to avoid clearly marking its chronological limits: the beginning is designed to merge with the applause following a previously performed piece, and one avoids a precise ending by making one final clarinet sound on the speakers after the exit of the clarinetist.

Recording of Sandra L. Tjepkema's Aubade. This aubade, a serenade whispered into a lover’s ear, just before dawn: It is meant, of course, as a type of erotic poem; but it is not the text alone but the finished product which constitutes the poem. The words (in English) along with complementary phonetic signs and tremulous sighs, seek out the familiar images of love poetry. Phonetic variations on the vocabulary and the breathing of sleeping, dream-talking lovers, the more literal interpretation of such images as tides-on-the-beach, stirring of bedsheets, comforted nightmares, quick leave-fakings, whistling-in-the-dark: these are the elements of this serenade.

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 Bohdan Mazurek's Childish Dreams. These “Childish Dreams” were written from an idea suggested to me by Jadwiga Mackiewicz and on an order I contracted with the Polish Radio’s Programme. It was the ambition both of the composer that the work should have more than a musical value; that is should possess a visible didactic function. It has been our assumption that electronic music can attract a child’s attention and direct it toward the beauty of the sound world which surrounds him throughout every day: the specific attractiveness, the sound of machines, nature, the street. In making a child susceptible to this specific beauty of sound, his sensual world and his feeling for beauty are enriched. “Childish Dreams” are my first step in such matters. In effect, it is a group of five short works with clearly defined content and titles: Lullaby, Train, In the Land of Ice, Dance of the Cats, Clock Talk. The sound material climate, the manner of the musical narration and the sound material I employed in the various parts correspond with the theme of each sound tale, each “dream,” to a great or smaller extent. Though the music carries programme-type features, I feel I …

Recording of Reynold Weidenaar's Cicada. The male cicada has a pair of shelf-like drums with a complex series of resonators, located on the base of the abdomen. When the drums are vibrated, the resulting sounds are modified by the resonators.

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 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.

Recording of John Elmsly's Diamant. This piece 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.

Recording of Claude Colon's Diastasis 3.

Recording of Reynold Weidenaar's Drive. Its glow is soft - silver. It becomes denser - and as the stuff of which it's made grows closer, it becomes harder and harder to keep it round, shining, glowing. Fatigue builds. Will is not enough. Finally, the question of why enters and the blows weaken, are fewer. The center holds itself for a while. To fail means death. The center then comes apart. Bursting or oozing. Back again to the periphery. A counterattack is mustered by the powers of will. A new pounding. A second glowing. But then a greater final fatigue enters. It ends. There isn't anything left. Why is left unanswered, unheard. - Thaddeus Kostrubala, M.D.D, The Joy of Running

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 Tommy Zwedberg's Face the Music. This piece is made for solo trumpet and tape. The trumpet plays towards the tape without electronic manipulation. The trumpet has also been used as material to make the tape-part which makes a closer connection between both parts. There is also a piano used as concrete material for the tape part. The character of the piece alternates with compactness in the beginning and a peaceful part in the middle. In the end, the piece returns to the character from the beginning of the piece, after having preceded a “tutti” in the tape part. The butch synthesizer and filter tape recorder allow for continuous possibility of transposing.

Recording of Paul Pedersen's Fantasie. This 8 minute, 2-track tape piece was composed in 1967 at the Mc Gill University electronic Music Studio. The work was conceived as a multimedia presentation using 3 projectors with hand painted slides by the Montreal artist Gino Bielanski. The piece is in 15 sections, which are synchronized with the fifteen slides used in the centre projector. Pitch organization in the work is centered on a 9 pitch series between 77 and 2335 Hz with successive pitches 200 Mels apart. Two sections involve the use of the Shephard Scale. The basic sound sources used are limited to white noise, sine and square waves. Much of the synthesis of the work was done using the channel Spectrogram developed by Dr. Hugh Le Caine of the National Research Council of Canada.

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 Iván Székely's For Alrun I et II. The work entitled "For Alrun" was composed in 1975 in Bayreuth during a live electronics course. The singing part of the play of about 7 minutes, a form and a light local broadcast, contains the popular song tchango beginning with the words "Gyere ki te gyšngyvirag" / come, leave my beautiful, my lily of the valley / - this one will have to be changed to all the presentations in Hungarian. This task was undertaken at the world premiere by Alrun Zahoransky - hence the title of the work. The player applying the electronics, especially from the point of view of the instrumentation, produces sounds and manipulates the electronic sounds and the human voice. The piece does not require studio work, each tone or voice sounds in vivo (i.e. each presentation, each show is new). The focus is on the psychic process of the piece and not on the technical process; its different degrees of difficulty adapt to the possibilities of the presentation. The singer is Ágnes Zsigmondi. The translation of the song is: Come, leave my beautiful, my lily of the valley, Because the moon is mounted, alas. I will …

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 Max E. Keller's Grundgesetze III. "Grundgesetze III" is the third part of a six-part work begun in 1975. Sections I and IV were realized as orchestral pieces. Lyrically, the work is based on the confrontation of ideology (for example, the constitution, that is, the "Basic Law" of the FRG [Federal Republic of Germany]) and the reality of bourgeois society. In "Grundgesetze III" the federal government processes a text about the so-called social market economy, while two other speakers present some information and a realistic dialogue. If the social market economy promises people paradise on earth, then the setting adjoins the dull reality: the colorful life has given way to a mechanical, absolutely regular beat, which was realized electronically, which thus lacks any inner life. This hammering also reflects what characterizes pop music and gives it an intoxicating effect, but occurs here naked and without drapery, no longer narcotic, but irritating. Like the rhythmic parameter, the pitch parameter also adjusts, with 19 different pitches distributed over the listening area at absolute regular intervals forming the basic chordalization of the chords. In other words, it is a 19-note chord built on a regular basis from which one single note is …

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 Rune Lindblad's Les inventeures. The composition is based upon a poem of the French writer Réné Chars (“Les Inventeures” from “Les Matinaux”). Especially the relationships between freedom and discipline, cognizance and action, and other items like solitariness and community, have been important when shaping the piece, which have resulted in the creation of voice fragments, solo or chorus, mixed with inarticulate screams and stifled exclamations.

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 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 Miklós Maros's Manipulation II.