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Recording of Barry Truax's Sonic Landscape No. 3. This work was created for four computer-synthesized soundtracks. This piece is intended to create a sound environment that surrounds the listener and envelopes them in an acoustic space of changing dimensions. Most of the sound structures used in this composition are synthesized with the P0D7 program for non-real-time synthesis.

Recording of Eduard Artemiev's Peregrine. The composer wrote this work under the theme of "pilgrims" and attempted to combine electroacoustic music with the energy and instruments of rock music. The main sounds in this piece are electronic as well as a soprano voice.

Recording of Jorge Rapp's Un Tiempo, Un Lugar. This piece was composed in the composer's studio and CICMAT. This work reflects dramatic moments of the Argentine history during the decade of the 70's. It was composed from electronic sounds and acoustic sounds of instrumental origin and social environment, processed in the laboratory of the CICMAT and in own studio. The acoustic sounds inhabit with melodic rhythmic impulses of electronic origin, fusing or contrasting between them. It consists of five sections, these interlace without a breath in between to a growing tension that declines towards the end.

Recording of Peter Beyls' It always takes a short time. The work combines tape music and spoken words live with electronic transformation of vocal material. This work is a version for tape alone. The electronic sound material as well as the original sounds were used and structured on 4 tracks. The vocal material, spoken by Herman Sabbe, consists of a textual structure by the Belgian artist Yves Desmet. This material has been intensively manipulated, with particular attention to the purely sonic aspects of language. The resulting sounds are semantically meaningless although a musical compilation of the text content can be detected at times. In the first part, colored noises and textures of gradually increasing complexity were used. The central part is built on the exploitation of sounds similar to those of the percussions and almost at the end of the work a continuum with slight fluctuations in the colors and the dynamics is growing.

Recording of Micheline Coulombe Saint-Marcoux's Miroirs. This work identifies the problem of togetherness with the coexistence of the two sound sources, mainly using as basic material a harpsichord score previously recorded and subsequently subjected to various electroacoustic treatments. Concrete sounds and modulated sounds (EMS synthesizer) are used, to which are added some electronic sounds recorded directly in the studio. The final cut of the magnetic tape then served as the basic material for the development of the score structured in six moments which evolve into "mirror games".

Recording of Michela Mollia's Viola Celeste. This work was performed at the Experimental Studio of Electroacoustic Music of the Conservatory of Pesaro. Its sound material is made up of 950 sines, grouped in a mixture of 4 sines, each and arranged in 16 sets of 21 mixtures from start to finish. Each layer (4 complexes) is a fairly complex superposition of sinusoidal sounds, the frequencies of which vary over time so as to avoid the creation of melodies, but to stabilize between one frequency value and the next, a very long interval. Viola Celeste is the name of an organ register. The title signifies the composer's intention to synthesize the sound of this instrument, but rather to create a sort of gigantic uniform "cluster".

Recording of James Dashow's Effetti Collaterali performed by the clarinetist Phillip Rehfeldt. The composer's first effort in using systematically his concept of AM and FM spectra as inharmonic harmonizations of specific dyads. 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 each pitch-pair 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. Effeti Collaterali was commissioned by Francois Bousch who was the resident holder of the "Prix de Rome" at the French Academy for the 1975/76 concert season.

Recording of Hildegard Westerkamp's Whisper Study for Two Electroacoustic Soundtracks. Whisper Study is based on the sentence "When there is no sound, hearing is most alert" (a quote from the Indian mystic Kirphal Singh in Naam or Word). Except for the distant horns, all sounds were derived from the composer's voice, whispering the above sentence and the word "silence". Whisper Study started out as an exercise in exploring basic tape techniques in the analog studio of the 70s and using the whispered voice as sound material. Eventually, it became a piece about silence, aural perception and acoustic imagination. Whisper Study explores the place or moment where sound ends and its image begins. The poem "When There is No Sound" by Norbert Ruebsaat was written in direct response to the original version of Whisper Study. The poem in this version is spoken by the composer inside a soundscape of icicles and footsteps in snow, which originally was created for her radio series Soundwalking on Vancouver Co-operative Radio in 1978/79. Eventually this section was mixed with the last part of the original version of Whisper Study.

Recording of Wes Richard Wraggett's Cetacea Suite.

Recording of John Anthony Celona's Micro-Macro. The composition deals with the illusion and timbral fusion of mixing voices with tape material. The voices were produced using the Extended Vocal Techniques Ensemble of the Center for Music Experiment who were instructed to utilize chanting, reinforced harmonics, dental trills, other extended technique, and imitation with the recorded bell material. The tape consists of a 4-channel Hybrid controlled filter sweeping of tuned oscillators and pre-recorded bamboo and bell material. The work is dedicated to Ed Emshwiller and Darrel DeVore.

Recording of Bernard Heisieck's Tu Viens Chéri(e).

Recording of Luigi Ceccarelli's Il Contingente Cambia Colore, installation for 4 tape loops with concrète sounds.

Recording of Barry Truax's Sonic Landscape No. 3 for four computer-synthesized soundtracks. The work is divided into three sections, each of which organizes the timbral and textural component in different ways. Familiar percussion timbres occur in the first section. In the second section, less familiar timbres are introduced in heavier densities such that the interaction of entire groups of timbres and events are perceived. In the final section, individual events are not perceived as much as a single, complex texture composed of related broad-band elements. The work was realized with the composer's POD programs for computer sound synthesis and composition at Simon Fraser University. The synthesis method is that of Chowning's frequency modulation timbral synthesis. The programs run on a Hewlett-Packard 2116 minicomputer with 12-bit D/A converter and digital magnetic tape unit. The sound structures are initially composed interactively with the POD6 program that utilizes real-time monophonic synthesis. The compositional model involves the selection of sound objects to be distributed in a random, Poisson-determined frequency/time field whose density and frequency range are variable in time. For each structure, two or four random variants are calculated and stored; each later occupies a different track on magnetic tape. Most of the sound structures used in the composition are synthesized with the POD7 program for non-real-time synthesis at fixed sampling rate. Envelopes are allowed to overlap in this version, creating a multi-phonic texture. The possibility of digital reverberation allowed by this program is not utilized in this particular composition. Four-channel mixing of the resultant tapes arrives at the final composition. The work, originally realized in 1975, was revised and largely re-synthesized in early 1977 at Simon Fraser University, and mixed in the Sonic Research Studio of the Department of Communication.

Typed text of a talk given by Padma Rangachari on computer applications in Indian music. Handwritten editing notes throughout.

Recording of Michela Mollia's Viola celeste. This work was realized at the Experimental Studio of Electroacoustic Music of the Pesaro Conservatory. Its sound material consists of 950 sinusoids (sine curves) grouped into a mixture of 4 sinusoids each and arranged in 16 sets of 21 mixtures from beginning to end. Each layer (4 complexes) is a rather complex superposition of sinusoidal sounds whose frequencies vary in time so as to avoid the creation of melodies, but to stabilize between one frequency value and the next, a very small interval. "Viola Celeste" is the name of an organ register. The title means by my intention to synthesize the sound of this instrument, or rather more accurately, to create a sort of gigantic uniform "cluster.”

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.

Last October while thinking about a composition I was to realize in the Columbia-Princeton Studio I spent a lot of time in my room listening to distant noises coming in through a half-open window. It was a seemingly disordered mixture of the street hubbub, signals of the river ships, and the distant thunder of planes. After some time I had an impression of all these noises being alive and perhaps even conscious of their existence; it seemed as it they wanted to speak. United into one whole and yet confined only to themselves they created a lonely choir. I wanted to express this feeling in my new composition. Solitude of Sounds does possess a certain plot. In the first phase, the homogeneous sound material exists only at the lowest register, as if unable to "free" itself from the area of darkness and uncertainty. Later, in the higher register, there appear sounds complexes of harmonic structure. They form a kind of a "choir" of aliquots, mutually penetrating and "singing through" one another. However, they are not allowed to create any new quality due to their restricted nature. Circling and persisting, they remain forever imprisoned in their own imperfection. I would like to make it clear that the above comments should be treated only as an expression of a certain consideration on the origins of the piece but in no case as an attempt to reveal some literal dependencies between the inspiration — a definite sound situation — and the piece itself. This situation served only as an impulse to create a certain imaginative space filled with independent sound material governed by its own rules. Perhaps the reason for writing this commentary was a desire to explain my own dislike for music which very distinctly organizes the space by introducing an element …

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 leave at dawn, wearing a high hat, alas.

After an intense period of analog familiarization with the range and enormity of available sounds extraterrestrially 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 realtime. 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 soundworks effect an awareness of the psychological effects of sounds, for instance, from trees and wind transformation via my windribbon. I'm concentrating on conceptualizing a segue into Internet 2 realtime with oncall 2way availabilities of my data-laden resources. My 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 I seek from natural sources as recontextualized audible constructs: offering personal connections to the long term aural memories of earthguests. " The composer's primary interest has been to establish "'an unprecedented access to nature ... in sound'."-- "Blue" Gene Tyranny leif BRUSH '06 4a-LGB'75Telesuono hologram.wav 19:51 Each of these sounds have their in-space "envelopes" and I tried avoiding collisions; however, I was generous with overlaps. And, cyclic repeats assure long term memories. When completed, this was a lay-it-all-out experience expressly for head space. I enjoyed the spatially built manipulations and I was content with my overall context that, since I was the doctor, I knew all the parts; however, it doesn't come close the …

Recording of Hildegard Westerkamp's Whisper Study (for two electroacoustic sound tracks). Whisper Study is based on the sentence "When there is no sound, hearing is most alert" (a quote from the Indian mystic Kirpal Singh. Except for the distant horns, all sounds were derived from the composer's voice, whispering the above sentence and the word "silence." Whisper Study started out as an exercise in exploring basic tape techniques in the analog studio of the 70s and using the whispered voice as sound material. Eventually, it became a piece about silence, aural perception and acoustic imagination. Whisper Study explores the place or moment where sound ends and its image begins. The poem "When There is No Sound" by Norbert Ruebstaat was written in direct response to the original version of Whisper Study. The poem in this version is spoken by the composer inside a soundscape of icicles and footsteps in snow, which originally was created for her radio series Soundwalking on Vancouver Co-operative Radio in 1978/79. Eventually this section was mixed with the last part of the original version of Whisper Study.

Poster advertising a concert by Alvin Crow and the Pleasant Valley Boys on September 9, 10, and 11, 1975, at Bigger Than Dallas Club, Lubbock, Texas. Poster by artist Micael Priest features black and white illustrations of Alvin Crow, "Dynamite Diana", "The Texas Kid", and a tour bus driving down a Texas highway. A caption at the top of the poster reads, "Country music for dancin and romancin, guaranteed to put a tear in yer beer!"

Recording of Zoltan Pongrácz's Barisphère. The work Barisphère is the central part of a cosmic series in three parts: Luna IX, Barisphère and The Big Bang. Its title refers to the central core of the earth, consisting of molten iron and nickel, with a diameter of about 30km. The composer's intention was to create, using electroacoustic means, a program music that excites the cosmic imagination of the listener. The sound material is made up of both synthetic and natural sounds rigorously structured by certain mathematical operations. Both rhythmically and formally, the proportions of the work are borrowed from the various measures of the earth. The treatments used are: transpositions, filtering, ring modulations, phase shifts, envelope transformations, feedback, reverberations, etc.

Recording of Jukka Ruohomäki's Pisces. The sound texture of this piece is exceptionally dense and compounds over one hour of mixed concrete and electronic sounds into six minutes. Some of the materials were originally made for a radio play in which people go through very painful experiences which finally transform them into fish.

Recording of Eduardo Bértola's Tramos for tape. The piece was made from two sound sources: radio broadcasts and direct recordings of popular events. These materials were structured by simple juxtaposition excluding the mixes and any kind of development of the original sound. It is therefor a purely horizontal structure in which we note the union of fragments of hard edge, perfectly delimited, similar to that used in some works of North American Pop Art. In this way, Bértola expresses his own point of view on the cultural significance and the non-significance of radio mass media in the countries of Latin America.

Recording of Lothar Voigtländer's Méditations sur le temps. Based on a poem by Eugène Guillevic entitled "Le temps." The electronic composition is divided into three parts, each one preceded by sentences from the poem. These three quotes are suggestions for musical meditation and not programmatically to be understood in the narrower sense.

Recording of Lothar Voigtländer's 3 elektronische Studien. The basis for the composition are the poems of the poet Erich Arendt. The poems were written around 1925 in his Expressionist creative period. Accordingly, the compositional means: concrete musical material is mixed with electronic sounds to achieve a strongly expressive and suggestive associative effect. It is less thought of as a "setting" of the texts, but should be added to the often strongly symbolic language formulations as a different, musical dimension. The vocals and the piano usually work live. The piano is mostly treated as unrecognizable - this is to achieve a seamless insertion into the electro-acoustic sound material. In a performance, both piano and singer can be electro-acoustically amplified and to a lesser extent technically manipulated (reverberation, iteration, etc).

Recording of Wilfried Jentzsch's "Le mythe de la machine" for piano and tape. The design is based on various calculations of chance. The tape was made in collaboration between the electroacoustic studio of the Hochschule für Musik Köln and the Center for Studies of Mathematics and Musical Automatics (C E M A M u) in Paris.

Recording of James Dashow's Whispers Out of Time. The title of this piece refers to the last line in a poem titled "Portrait in a Convex Mirror" by John Ashbery (1975). The composer used a VCS3, three ReVox tape recorders each with vari-speed gadget, and an AKG reverberation unit in an attempt to express with electronic sounds the moods, feelings, and sensations the four words of the title invoked in him.

Recording of Alain Savouret's Valse molle

Recording of Hal Freedman's Skelelemedania. This piece falls into three sections; the first and third combine live and tape sounds, and the second is for tape alone. The piece as a whole represents an expansion of the middle tape section. The more purely electronic layers were composed to complement or contrast with the vocal elements. The first and third sections make use of tape echo and delay systems. The timing of the repetitions allow the delay to be heard not as feedback but as a continuous evolution of texture and harmonic, melodic, and contrapuntal interplay.

Recording of Georges Boeuf's Champs.

Recording of Charles Dodge's In Celebration. "In Celebration" was composed during the first part of 1975. The composition tends to capture the spirit and structure of Mark Strand's poem and to give it a coherent sense musically. The poem has a two-part structure separated by the reappearance of the verse "You sit in a chair.” The two parts of the poem can be distinguished from each other by the different degrees of passivity attributed to the "You,” the person to whom the poem is addressed.

Recording of Graciela Paraskevaídis's Haauqui (pronounced Wauki or Ouaouki) for two-track tape. The title is a Qechua word referring to a small statue carried by the Incas that resembles their own image, a meaning extended to brotherhood, community, and friendship. The sound events, created from both microphonic and electronic sources, aim at a non-discursive, non-anecdotic function based on a self-imposed simplicity and on the presence of structural silence. It was realized at Elac, pequeno estudio de Montevideo, in 1975.

Recording of Ryszard Klisowski's Memento for tape.

Recording of Satoshi Sumitani's Constellation. This composition is a process of pursuit to sonority in limited materials possibility of transformation and combination. In addition to all instruments used were a Graphic Equalizer, a Eariable Speed Tape Recorder, and a Microphon setting.

Recording of Francis Dhomont's Syntagmes. This work obeys a double concern: formal rigor and vagrancy of the imagination. Seemingly contradictory proceedings, they are inspired by linguistic mechanisms which - within the limits of a code - allow innumerable discoveries.

Recording of Curtis Roads's Construction. This piece consists of continuous sound spectra. It was composed intuitively by ear. Its process of forming is characterized by an interplay among sections of historical development (continuous transformation), sequences of event (discrete spectral "harmonies"), and disjoint non-sequiturs (contrasting modes of musical behavior). "Construction" is a model, an alternative vision to the dominant mode of structuring. The technical devices used to make the work were: Moog III Synthesizer, Bode Ring Modulator, Bode Frequency Shifter, Ampex 4/2 Mixer, JBL Monitors, Quad/Eight Mixing Console, ITI Parametric Equalizer, Pultec Equalizer, Acoustic Echo Chamber, Altec Monitors.

Recording of Denis Smalley's Ouroboros

Recording of Patrick Lenfant's Syrrhapte

Recording of Albert Mayr's Relazioni-transformazioni. “Relationships-Transformations” is part of a series of works that are based on the TIME-ASPECTS text and thus start from the same basic hypothesis: highlighting the relationships that come into being between various sound events - or even visual, theatrical – in function of relationships between their organizations in time and subjective transformations - of such events that occur during the operation. This hypothesis is carried on with the use of a very small material, both for recorded and instrumental parts, without any virtuosity, even to avoid masking, with affirmative artisans, the state of erosion of making music today.

Recording of László Dobos's Playing with Piano. The piece consists of six parts and includes electronic piano.

Recording of Iván Patachich's Ta Foneenta. The base of the work forms a mathematical series. The sound material of the work consists of vowels, synthetic sounds, and Morgenstern's poem "The Great Lalula." The construction of the work is two-channel and panoramic and constructed spatial movement are also often used. Sound units present in the molded parts are microstructures. The work has a so-called bridge shape, so the eleventh molding is a variation and mirror image of the first part, the tenth molding varies the second, and so forth. The sixth molding is the highlight of the work.

Recording of Lojze Lebič's Atelje II (Atelier II) for tape. The piece was composed in collaboration with Paul Pignon in the Radio Belgrade Electronic Studio in September 1975. It is made up of five sections, in which certain electroacoustic "instrumental" ideas are transformed through characteristic compositional procedures. The title has a twofold meaning: on one hand, it reveals the aims of the composer's research, considering that this was Lebič's first encounter with the electronic medium, and on the other, his expectations that the composition would be performed in the Concert Atelier cycle of the Society of Slovene composers. Atelier II was later expanded into Atelier III for magnetic tape and live violoncello performance.

Recording of Iván Patachich's Funzione acustico

Recording of Manuel Enríquez's Viols II. A stringed instrument, both with and without bow, is the sole source of sound.

Recording of Teresa Rampazzi's Canti per checca.

Recording of Shoko Shida's Lazy Garnet

Recording of Lucien Goethals's Polyfonium. This is a mobile electroacoustic composition consisting of 4 independent layers that must be superimposed ad libitum during the listening even if the piece is in a concert hall. By varying the modes of superposition, one obtains a different version each time without the general character of the piece changing. It is also possible to make reduced versions, that is to say, by superimposing two or three layers only. Such achievements will then give less complex versions, but quite complete from the musical point of view because each structural layer is autonomous. The basic material consists of concrete sounds and electronic sounds. Complex figures were made using an electronic programmer. The piece is dedicated to Nicole Lachartre.

Recording of Richard Orton's Ambience. Ambience for solo bass trombone and tape was written for the American Trombonist James Fulkerson and first performed by him in the Wigmore Hall, London, on 17 May 1975. He has since included the work in many recitals during his tours in Scandinavia, Canada and the USA. The title "Ambience" here refers to the imaginative sonic environment surrounding the sounds of the trombone, including the most "artificial," synthesized sounds, instrumental ensembles which incorporate the trombone, and environmental recordings including public sounds we will recognize and share. Within this sonic environment the trombone at times asserts itself, at times merges most imperceptibly, and eventually complements it and achieves a harmonic and dynamic balance.

Recording of Stephen Montague's Slow Field. The primary sound was recorded from a toy organ and altered by means of filters, etc. The work employs heterodyning (using an electronic circuit to combine an input radio frequency with one that is generated in order to produce new frequencies) and the use of vari-speed near the end.

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