Recording of Wilhelm Zobl's Andere die Welt, sie braucht es.

Recording of Philip Rosenberg's Assemblage for tape.

Recording of Oscar Bazán's Austera.

Recording of Rudolf Růžička's Cantata ai-ai-a.

Recording of Teresa Rampazzi's La Cathédrale.

Recording of John Cousins's Christmas musik.

Recording of Satoshi Sumitani's Cluster of Nephrolepis Marsharies.

Recording of Sumitani Satoshi's Couverte.

Recording of Antonio Mastrogiovanni's Cuauhtémoc. The work "Cuauhtémoc" is dedicated to this young Aztec king, who defended the city of Mexico against the Spanish conquerors commanded by Hernan Cortes. During the siege of this city, nine-tenths of the Aztec population was exterminated, and Cuauhtémoc himself was tortured and assassinated by Hernan Cortes. Three fragments of indigenous texts are used in the work: The first text is the one recited on the occasion of the birth of a Mexican child, and is mixed with the name Cuauhtemoc. The second text is a description of the Spanish army. The third text is a description of the city of Mexico after the cruel siege.

This is the original conductor's score for the opera "Daisy" including the vocal parts as well as instrumental lines for flute, oboe, clarinet, bassoon, horns, trumpets, bass trombone, timpani and percussion, harp and piano, violin, viola, cello, and string bass. The introductory pages at the start of the score include acknowledgements and synopsis by Professor Kenneth L. Ballenger, the cast of characters and scene list (5 scenes). There is an index to the scenes for each act following their title pages (before page 1 for Act I and before page 262 for Act II).

Recording of Michela Mollia's Diaphanes. This work involves a recorded part on magnetic tape, a live performer to an amplified tam-tam, and a filter assist. The live performance and recorded part consist of two sound levels that interact with each other, creating, however, a certain ambiguity that is created by the contemporary listening of such sound levels. A bandpass filter makes the two events strictly complementary to the materials obtained from the tam-tam. Additionally, African-speaking voices have been used on a metallic tape. The live performance and tape are distributed over two channels and reproduced with 4 speakers at the 4 corners of the used space.

Recording of Claude Colon's Diastasis. Diastasis means separation. Separation between an instrumental play and a set of sounds obtained with a generator. Dialogue. Osmosis. Separation.

Willis Conover's last interview with Duke Ellington, with Ellington also playing the piano.

Recording of Roman Berger's Epitaph für Nikolaus Kopernikus

Recording of Bohdan Mazurek's Epizodes.

Recording of Jorge Rapp's Estudio I. It was recorded at the Centro de Investigacin Masiva, Arte y Tecnologia de la Ciudad de Buenos Aires.

Recording of Richard Kennell's Fantasia and fugue.

Recording of Liviu Dandara's Fresca. Fresca synthesizes folk sound phenomena that accompany the daily events of Romanians. There are three intensity curves, proportionally equal. They correspond to the songs/signals of work, funeral music, and love songs. The dynamic culmination is reached in the same section, which interferes with the space and time of the folk festival. The final represents the filtering of a reverberation of the culmination of the work, accompanied by fragments of the motive-echo, which suggests permanence.

Recording of Eduardo Bértola's Gomecito contra la Siemens, o el diablo de San Agustin.

Recording of Ákos Rozman's Impulsioni, the collective title of three works (Impulsioni I-III) realized at the electronic music studio EMS in Stockholm. The three etudes are built on synthetic sound material. There is a strong influence from The Basilica di san Clemente in Rome and a sense of Good and Evil. In 1981, he made Impulsioni I-IV adding on a fourth part containing sounds from sparrows, among other things.

Recording of Ákos Rozman's Impulsioni I-III. Impulsioni I-III was realized at the electronic music studio EMS in Stockholm. The three etudes are built on synthetic sound material. There is a strong influence from The Basilica di san Clemente in Rome and a sense of Good and Evil, a theme that was to remain important all through Rózmann’s life.

Recording of Vivian Adelberg Rudow's Lies

Recording of Carl Stone's Lim.

Recording of Juraj Pospíšil's Méditation électronique.