Recording of Peter Kolman's E 15.

Recording of Jukka Ruohomäki's Adjö. Sound material is all electronic sounds from the animation picture "Electric Bird Garden" (1974, manuscript by Marja Vesterinen, directed by Antti Kari). The piece was premiered at Young Nordic Music Festival (UNM) in the Temppelinaukio Church in Helsinki on 28 February 1975.

Recording of Stefan Beyst's Aguiro for tape.

Recording of John Edward Cousins's Anna. This piece is based on recordings made in 1974 at the ISME Research Seminar which took place at the Department of Music of the University of Canterbury. The subject of the seminar was Music and the Preschool-aged Child. Among the invited speakers were two specialists in the field of Musical Therapeutics. As an example of the power of musical sounds on an extremely retarded child, their article defends all therapeutic positive aspects inherent in musical nature. The composer tried to capture, by means of sound, the feeling of both joy and pain that the experience of music gives to a person, disabled or not.

Recording of Teresa Rampazzi's Breath. Four fragments of Bach, Mozart, Stravinsky, and Webern were decoded. The similar (spiral) structures of these fragments and the various combinations of velocity and dynamic space velocity have been put together without, however, altering the melodic design and rhythm. Originally the work was conceived for four channels.

Recording of Joaquin Orellana's Cantata dialetica.

Recording of John Rogers's Computer Fantasy. This work uses rotational arrays to determine the vertical pitch structures. It is unique in using “controlled random” melodic motion between array elements. The sonic surface of the piece is characterized by a great use of variable digital band pass filters.

Recording of Krysztof Knittel's The Conqueror Worm. The music structure of this composition depends on the word structure of the poem of the same title written by Edgar Allan Poe. The sound material is based on electronic sounds as well as on the violin and trombone sounds transformed electronically and recorded by Weronika Szrajber-Knittel and Stanislaw Pierozek. The work was realized at the Experimental Studio of Polish Radio in collaboration with Barbara Okon in 1974 and premiered at the Warsaw Young Festival in Stodola Student Club in 1976 (March 18th). The version presented now was made on the basis of quadraphonic recording realized in 1976.

Recording of Krysztof Knittel's The Conqueror Worm. The music structure of this composition depends on the word structure of the poem of the same title written by Edgar Allan Poe. The sound material is based on electronic sounds as well as on the violin and trombone sounds transformed electronically and recorded by Weronika Szrajber-Knittel and Stanis_aw Pierozek. The work was realized at the Experimental Studio of Polish Radio in collaboration with Barbara Okon in 1974 and premiered at the Warsaw Young Festival in Stodola Student Club in 1976. The version presented now was made on the basis of quadraphonic recording realized in 1976.

Recording of Lucien Goethals' Difonium. This is a work for bass clarinet and electronic tape. The relationship between the two sound materials highlights the instrumental virtuosity, with the nature of the tape forcing the instrumentalist to constantly have an extremely dynamic response.

Recording of Wes Richard Wraggett's Dundas Street West. An aural journey along a microcosmic path. No programmatic intent.

Recording of Maurice Wright's Electronic Music Composition.

Recording of Elliot Schwarz's Fixations.

Recording of Denis Lorrain's Générique (Σ)

Recording of Denis Lorrain's Générique (R),one of three piece for two-track tape which can be presented independently or in an arbitrary order. The three pieces form a family bound by relationships of inclusion: (R) included in (S) included in (I). Each piece presents different aspects of the same materials. They were realized at the Institute for Sonology of Utrecht University in 1973-1974.

Recording of Barton MacLean's Genesis.

Recording of Peter Tod Lewis's Gestes II.

Recording of Ross Harris's Horizons. The original version of this work was commissioned by a New Zealander painter, Michael Smither, for the opening of a mural painting exhibition based on a series of skylines that employs varying degrees of abstraction on the theme of painting the horizon. Although commissioned for this occasion, "Horizons" reflects the simplicity and extent with which many New Zealand painters captured the landscape and this piece is simply a series of images slowly evolving into sound.

Recording of Léo Kupper's Innominé.

Recording of Leif Brush's Intercepted Composition

Recording of Joseph Paul Taylor's The loud piece

Recording of James Dashow's Mappings. This piece is in three large sections, each of which explores a particular kind of texture by developing the composition or structural possibilities implied in the timbral relationships between the cello and the electronic sounds. At the same time, each section contains forward and/or backward references to later/earlier material. In the third section, the cello/tape integration is brought to its maximum by turning the solo instrument into what might be called a “prepared cello,” using paper clips to resemble an electronic ring modulation.

Recording of Curtis Roads's Mass colligation 2

Recording of Bohdan Mazurek's Moment musical