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Recording of Bernard Gagnon's "Gwendolyne descendue !" for tape. Gwendolyne is an underground comic character from the 1940s. Read first glance, her adventures only seem to be excuses for exploring the possibilities of bondage, but the unity of style pervading even the smallest symbols and the obstinate repetition within the strict limits of a closed world gives them an esoteric aspect that inspired the piece. It tells the story of the forced disappearance of the heroine. The piece is dedicated the Gwendolyn's creator, John Willie.

Recording of Sten Hanson's 96. "According to Amnesty International, there are 96 countries in the world that have political prisoners. In most of these countries, there is clearly physical or mental torture that is punishable by law and unlawful killings." Sound material includes sounds of doors shutting, locks locking, bells, ringing, etc.

Recording of Martin Rudolf Schwarzenlander-Fischer's "Chacoel (Musik für den frühen Abend)" for tape.

Recording of Pekka Sirén's "The genesis of Kazan" for voice and tape. The composition is based on the Finnish text of an old poem of the Mordovian people. It is a mythological folk tale from that culture. After encountering the tapestry collection of A. O. Heikel which portrayed the Cheremis and Mordove peoples, Sirén was inspired to think of a new musical notation and to set one of these tapestries to music. He chose the poem "The Founding of Kazan" from the "Heimokanne" collection published in 1930 and translated by Otto Manninen as the basis of the composition. Sirén's goal was to depict not only the cultural history but also to research the dramatic expression of the actor. who plays four characters: the narrator, Marja, the father, and the mother. The differentiation of these characters is in the form of sound material that is subject to many stages of modifications. The piece was realized and recorded at the Experimental Studio of Helsinki Radio.

Recording of Francis Dhomont's "Points de fuite" ("Vanishing Point").,It was realied at the composer's studio in Montreal in 1981-82 and was premiered on June 13th, 1982 at the 12th Bourges International Electroacoustic Music Festival.

Recording of Martin Sierek's Quadratwellenklangwurst. The piece is based on micro-intervals through the use of square-wave oscillations. These exact intervals were only achievable with a digital rectangle generator. In the composition, the higher pitched parts of the two harmonies are fed to the cohesive basic tones and a whole sound becomes a glittering sound spectacle. The intervals and the number of individual rectangles constantly increase during the composition and generate acoustic phenomena and end in a cluster. The only "ordinary" intervals, a big second after and then a minor third, are just decoration.

Recording of Ricardo Teruel's "Un minuto de silencio per favor" for electronic sounds on tape.

Recording of Charles Dodge's "He met her in the park," poetry by Richard Kostelanetz. The poem consists of a boy-meets-girl story that is told eight times, and the retellings abridged versions of the previous ones, sometimes reversing the gender roles until the final retelling is just "He met her in the park." In the composition, the lines are read by a male and female actor alternating lines and each telling of the story is articulated in a different way. The voices are synthesized with melodies, and over the piece, the voices become understood more like music which echoes the original language.

Recording of Sukhi Kang's "Inventio" for piano and prerecorded electronic sound. He used traditional Korean rhythmic elements (multirhythms) and blends them within the context of Western music and electronics to create the piece. The electronic sound is primarily derived from the pitch G on the piano, which is then electronically manipulated by duration, pitch and tone.

Recording of Kevin Jones's Ice breaker. Jones had just traveled from Helsinki to Stockholm by boat across the frozen Baltic Sea, which had been made more difficult due to a strike of icebreaker crews. During the crossing, the magical and mysterious sight of distant plains of ice reflecting the ship's searchlights contrasted strongly with the occasional violent thrusts of the bows ramming into thickly packed ice. The "ice breaker" concept also extends into the interpretation of breaking ice in social relationships. The piece builds up into a succession of waves or thrusts, which eventually break through into a teasing catharsis. A doubtful release unravels in an extended coda. It was realized at the studios of EMS (Electronic Music Studios) in Stockholm, Sweden in March 1980 on a PDP15 computer employed to control a bank of oscillators.

Recording of Alain Thibault and Marcelle Deschenes's "Pot Pourri," a reduced version of the multimedia work OPERAaaAAH.

Recording of Margaret Sambell's Metal Harmonics. The short piece uses sounds developed by concrete and electronic means of a metallic resonance, much of it utilizing the rich overtone content of the sound source. The work was completed in April 1983 at the University of Birmingham.

Recording of Stephen Montague's "Slow Dance on a Burial Ground." Inspired by multi-traking and over-dubbling in pop music. Montague plays all various individual parts on folk flutes and log drums, playing at various speeds and other manipulations in an electronic studio to create at virtuosic product, even with modest skills on the instruments. The piece is an exploration in "Romantic minimalism," with its monthematic unfolding of a melody in the dorian mode and static harmony, but also with 18th/19th form influence.

Recording of István Márta's The Museum's Voices, for tape.

Recording of Stephen Montague's Scythia for electronic tape. Scythia was a region of Central Eurasia in classical antiquity encompassing parts of Eastern Europe east of the Vistula River and Central Asia, with the eastern edges of the region vaguely defined by the Greeks. It was thought of as the great land of education. It was also the place where Prometheus gave fire to man and where he was confined to be tortured by the gods for this. Every day an eagle came and tore out his liver and every day he endured.

Recording of Gabriel Valverde's Una musica, un rumor, un simbolo.

Recording of Teresa Rampazzi's Atmen noch. After many months of researching the relationships between harmonic or better harmonic spectra, this piece was the result of that research. This research was done jointly with Rampazzi's student Maria Luisa Bon. The form of the work is sets of stamps and association between them and a Grecian-inspired Cantus Firmus. The groups are figurations of galaxies out of time.

Recording of Will Eisma's "Le grand silence d'un seul oiseau" ("The great silence of a single bird") for tape. During World War II, a network of 40,000 km of trenches crossed South Flanders and the North of France. Still today, there remains part of these trenches as a long underground tunnel somewhere around Metz and Verdun. The composition represents an imaginary underground journey from Calais to the Swiss border, through the infernal moles, in the gloomy and frightening obscurity of this absurd war. The poem of Ab Van Eyk tells of these horrors: "Someone walks forward, slowly spitting out his lungs, while a bird pass near me, the gas ......... The night shows fiery angels, among the lights of the "no man's land "; until the twilight silence arrives, the great silence of a only bird, just before sunrise raspberry color." The piece was composed and realized in the studio Five Roses in April 1981.

Recording of Józef Rychlik's Just Behind the Horizon for tape. This music, composed "without filtering", uses a range of timbres made by different programming of the values of heights, time, intensity, and specific acoustic music reactions for some kinds of impulses. Each motif, even in the second polyphonic part, are made of several layers. Each layer is an "automatic game sequence," which allows for the process of semi-automatic composition. Along with this idea, the ability of this piece to go beyond the nature of this apparatus and to compose a work that is independent of the "natural aesthetics" given by the machine is a key foundation of the piece.

Recording of Klaus Röder's kristallisation I. The material of this piece are tape recordings of triads played with the guitar. 26 tape loops contented 4 triads each on 4 different channels. The pitches were chosen such as to build a cluster with the extent of one octave by simultaneous reproduction of all 4 channels of one loop. The loops differed in pitch and were arranged in chromatic order so that the 'lowest' loop extended from E1 to Dis1 and the 'highest' one from E1 to Dis2. Then from the tape loops special parts were copied to another tape in a fixed order. By taking either the front or the back part of a tape loop variations in tone color and volume could be made ( loud, clear, hard-swinging: font of the loop; silent, dark, smooth-swinging: back of the loop). The copied parts were cut into pieces according to their duration of tone and then they were put together again. Sequence, color and duration of the tones were provided by the score. Tone color and duration change from tone to tone so that there is a fluctuating impression.The whole tape consists of several thousands of cut pieces that were stuck together. There is a crystallization of structures which results from the repetition (forwards and backwards) of special parts by which they are made clear.

Recording of Yvon Magnette's Akymyle.

Recording of Boyko Stoyanov's C.A.S. Stoyanov was inspired by the interpretation of Chopin's Op. 30, no. 1 by the Japanese pianist Rikako Akatsu, performed at the Chopin Piano Competition in Warsaw. In this work, the composer wanted to create a unique form, the basis of which provided by the electroacoustic music.

Recording of Alain Thibault's Deca-Danse. Using a recording of a speech by President Ronald Reagan, Thibault makes a statement about the destruction that humans cause for one another. Th piece is split into ten sections: 1. Technopolis; 2. You are Loved; 3. Special Emission; 4. President's Message; 5. Reagan's Happiness; 6. Reagan's Delirium; 7. The Most Beautiful Gift of God; 8. Generation x; 9. Mx; 10. Future x. The piece was created at the Studios Bruit Blanc and McGill University.

Recording of Joe Davidow's "Music for two flutes and tape." All of the sound material for the tape was originally played on the flute. The studio processing has has the aim of enhancing the inner harmonics and enriching the more obscure instrument sounds, bringing them to the forefront in inter-structural relation to the two live flutes. Breath, which is the original source of all the sound in the work, is itself an intricate part of the sound color relationship, together forming a structure of interweaving live and processed flutes, counter posing the real and surreal.

Recording of Henri Chopin's L'agrippe des droits. One male voice reads the poem which is then electronically processed. Written for Christian Clozier. Henri Chopin's "Audiopoems" was originally realsed on cassette by Edition Hundertmark as 89. Karton in 2001. Only 500 copies were released.

Recording of Zagorka Zivkovic's Extension 1 created at the Electronic Music Studio in Stockholm. It is the first in a series of works aiming to extend the sound quality of certain live-instruments. This piece focuses on the cello and manipulating the instrument in different ways - from a low degree (transposition) to an extremely high degree (a combination of layerings of loops and permutations through the use of a Buchla synthesizer). These sounds are then juxtaposed with some pieces of the original sound material in order to give depth to the perception of the instrument.

Recording of Paul Pignon's Mechanical cartoons. On the Synthi 100 it is possible for the composer to patch complex systems which can generate musically acceptable trajectories even without control gestures - these are called "organic machines" by Pignon, because they are like beings with an independent life manifested in sound. An important feature for the overall structure of the piece is that one of the organic machines, which has a central role within which the characters of the cartoon act out and are subject to the influence of a previously defined rhythmic pulse train. Although this rhythmic structure is nowhere obvious, it nevertheless biases the overall form.Of the four "voices", the first is the setting already mentioned, featuring richness and variety of sound objects while being rather static in space. The second and third are quasi-human-animal voices that are very mobile in space. The fourth, also mobile, Pignon imagines as a monstrous bird-like figure, although it too occasionally exhibits humanoid characteristics.

Recording of David Rosenboom's "Nazca liftoff et Time Arroyo." David Rosenboom: Nazca Liftoff and Time Arroyo. Nazca Liftoff and Time Arroyo are two sections of a series of seven pieces composed for the album, "Voyage Futur." These are two examples of what the author calls "high performance." These pieces are completely based on algorithms. Direct actions to the computer have the effect of directing the algorithm process to crucial branches and selecting sets of musical materials and / or relationships with what the program performs. All sounds are created by the author with "Key" controlled by computer with digital sound generation and "Patch-IV".

Recording of Rodolfo Caesar's Tremola impressao. This piece is a mix of disparate languages: instrumental music, sounds of nature and electroacoustic music, resulting in a different kind of electroacoustic music. The material originates from earlier works, not always Caesar's, but manipulated to make it different. He tried to make useful the sounds that were condemned trash; without any comparison with "Fontana Mix" by John Cage

Recording of Horacio Vaggione's Octuor. Sound material is all computer synthesized. Techniques used include frequency modulation, nonlinear distortion, additive synthesis and wave array synthesis.

Recording of Alejandro Viñao's "Triple Concerto" for flute, cello, piano, and computer. Triple Concerto was commissioned by Option Band with funds provided by the Art Council of Great Britain. The tape was produced and composed with a Fairlight computer music instrument at The City University Electro-Acoustic Music Studio in London.

Recording of Andrew Newell's "The thin edge of the wedge." This is the first piece in a triptych of pieces. It is orchestrated for seven electronic instruments, which were realized on a Buchla 200 series synthesizer. The concept behind the music concerns itself with man's position in the world today, which the composers sees as a very dangerous one, with possible self-destruction close at his heels. This piece is as one voice "crying in the wilderness," not meant to soothe, but to alert his fellow man to the evil that seems so near. The piece divides into two large sections which are then subdivided four plus three into subsections. The last subsection is a direct contrast to the first both in context and in attitude. The pitches are based on a number series that derives from the fractional part of the ratio of partials 8 and 7, but this is not a serial piece because the above-mentioned series is used primarily as a series of central pitches around which a random distribution of pitches revolves.

Recording of Mauro Graziani's The silent god. It is a sound processing work, no synthesized sounds are involved. The beginning sound materials are sounds often used in religious rites and ceremonies, hence the title. Sound material includes: Japanese gongs, Tibetan and Chinese bells, Tibetan trumpets, gamelan, Indian and Middle-eastern harp, western organ, aeolian harp, voices. Processing includes filtering, time and/or pitch changing, delays, freezing, cutting, and mixing. The work was realized at the Centro di Sonologia Computazionale" (University of Padova) in 1980, using the IBM 4381 mainframe and the MUSIC360 software for digital sound synthesis.

Recording of Lelio Camilleri's Tess In Stonehenge. The piece explores the relationship between fast sound structures and sounds with a longer duration and different types of envelopes. The sound equipment consists of filtered white noise bands, frequency modulated bands, and sound structures obtained by the control voltage technique.

Recording of Werner Kaegi's Conversations: Partie 2: Automne.

Recordings of Yuji Itoh's La poëtique de l'espace for prepared piano. The composer has no real structure for this work, only wanting to let the audience listen to experiences. The work was realized in Studio STGU under the technical direction of Professor S. Sumitani.

Recording of Larry Wendt's Broken Crystals, from "World-Class Technology." It is an extended narration piece that takes the form of a personal recollection. It is narrated by a Silicon Valley worker who works for an integrated circuit foundary that grows garnet crystals for the manufacturing of bubble memory. The factory is overcome with insects that destroy the crystals, and, in response, Silicon Valley is bombed with Cane Toads in order to get rid of the bugs. As a performance piece, the narrative would be read live while the background tape of manipulated environmental sounds along with a vocal processing device to allow immediacy to the live performance. Sometimes performed with theatrics or projected slides.

Recording of Bertand Dubedout's "Aux lampions" ("To the lanterns"). Lampions are small oil lamps, formerly popular as a carriage light. It is a concrete piece in three movements: "Bal convexe" ("Convex ball"), "Le cocher" ("The coachman"), and "Sous les planches" ("Under the boards"). For writers like Bulgakov, Gogol, and Chekhov, the ball scene is often a story of action, tragedy, or desperation; the ball can ruin an existence or bring hope. Delight, delusion, and loneliness are the multiple stigmata of the ball. The sound materials of the piece are all concrete sounds that are based on reality. The sound forms escape any precedence, combining to create images of incongruous weddings like in an agitated dream.

Recordings of Lars-Gunnar Bodin's "For Jon III." A electronic remix (?) of part of Bodin's cantata "For Jon" for chamber choir and soprano soloist.

Recording of Patrick Fleury's Stalker, an electroacoustic musical piece. The piece consists primarily of computer generated sounds.

Recording of Jan Oleszkowicz's Spasme for tape.

Recording of Tommy Zwedberg's Röstband performed by Kerstin Ståhl (mezzo-soprano), Jorgen Johanson (trombone), and Göran Rydberg (percussion).

Recording of Reed Holmes's Chalumeau Rain. The piece demonstrates the composer's concept of music as sound flow (a texture existing in time and space). For this reason, many of the clarinet sounds assume a gestural/electronic character. Chalumeau is a lyric expression of the electronic medium. The composer unites the live and electronic by using live clarinet sounds in the tape which have been manipulated by tape loops, reverb, phase shifting, reverse playback, amplitude modification and filtering. All pitch material is derived from a five note collection. Pitch material is developed by mains of various contours. Ascending, thrusting pitch series are expositional or developmental. Arch shapes exhibit stability and a relaxed character. Descending pitch contours provide or signal closure. Assignment and occurrence of these structural functions in Chalumeau is not simple. The composition grows from an interaction and mutual influence of the pitch and gestural ideas; often one idea dominant and others are struggling to predominate. Momentum and directed motion are additionally achieved by rhythmic activity and textural manipulations.

Recording of Tamas Ungvary's Ite Missa est (in memoriam Rudolf Maros). Ite, missa est ("Go, the mass is over") ends the mass in the Catholic liturgy. "Ite, Missa est" is in part based upon gliding sounds. The noted Hungarian composer Rudolf Maros, a good friend of Ungvary, was a remarkable humanist and pedagogue, for many Hungarian composers a father figure in the word's deepest sense. Ungvary began to compose this work during the last period of Maros's life. He died before the piece was able to be presented to him.

Recording of Trevor Wishart's Anna's Magic Garden. It is an impressionist work that attempts to recreate the agitation of the world from the view of a three-year-old child. The voice is that of his daughter, Anne Ruth. The piece contains sounds both concrete and synthesized. Recorded over five weeks in the studios of San José State University and University of Texas, Austin.

Recording of Åke Parmerud's "Yttringar (utterances)." Form and material derived from the Fibbonacci-series. One of the goals of the piece is to avoid the regular behavior of instruments and electroacoustic sounds as clearly separated entities by creating rapid "shadowings" between the tape-part and the live-part. The piece is performed with the conductor hearing a separate channel click-track in a head-phoneset, enabling him to keep in perfect sync with the tape-part.

Recording of David Jaffe's Silicon Valley Breakdown, a spatial work for a symphony of imaginary plucked stringed instruments ranging from the tiny piccolo mandolin to the immense bass "plucked Golden Gate Bridge", created through computer synthesizer. The piece includes elements of "bluegrass music" in both a serious and satirical way.

Recording of Claude Fatus's Voyager 2 for tape.

Recording of Åke Parmerud's "Kren," a concert piece. The title is an acronym of time (the clock) and energy: Kronos an Energy (KREN). The main idea for this piece was to create an electric world loaded with sound events that were emitted in a regular way. The work was created in Stockholm's EMS Studios and was commissioned by the Swedish Institute for National Concerts in 1983.

Recording of Þorsteinn Hauksson's Études 1 et 2.The two etudes are the first works based on research carried out at the Institute for Research and Coordination in Acoustics/Music in Paris for more than a year on the techniques of organization of harmonics in composition. The goal was to find a coherence of composition between micro structure (harmonic structure) and macro structure. The pieces are the first text of using computer programs as a result of the study.

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