Track	Length	Artist / Title	Description	Comments
1	9’17	James Dashow, Le Tracce di Kronos, I Passi (Traces of Kronos: Steps) (1995)	For clarinet and computer music on tape. Music30 language for digital sound synthesis, using Spirit-30 accelerator PC board by Sonitech International.	Neat FM effects 1’30 to 1’45
5	16’23	Joel Chadabe, Follow Me Softly (1984)	For percussion and Synclavier Digital Music System. Very first Synclavier, w/o keyboard (interface is via a computer terminal, but is still interactive).	Microtonal 0’00 to 2’00
6	8’27	Rodney Waschka, Visions of Habakkuk (1987, rev. 1996)	Computer music on tape. Granular synthesis, many textures made of up to 300 “grains” (notes) per second	Generally sounds kind of “ratty”
7	17’56	Cort Lippe, Music for Clarinet and ISPW (1992),	Clarinet pitches tracked by the computer and sent to a “score follower”. Clarinetist triggers certain effents.	Interesting effect at about 4’00

Track	Length	Artist / Title	Description	Comments
13	4'40	Lucky Man (1969)	Used small Moog modular synth and played major solo, which helped to propel sales of Moog synths.	Solo begins at 3’00

Track	Length	Artist / Title	Description	Comments
5	5’43	Got A Match?	Yamaha KX5/TX816S	Quick single-line solos, classic DX7 sound, pitch bender.
7	5'34	No Zone	Midi Rhodes/TX816’S, KX88/TX816’S, Synclavier, Linn 9000, Fairlight, Yamaha GS1

Track	Length	Artist / Title	Description	Comments
1	2’11	Snowflakes are Dancing	Electronic interpretation of Impressionistic music. Includes blend of obviously electronic sounds and realistic-sounding string orchestra.
4	5'52	Clair de lune

Track	Length	Artist / Title	Description	Comments
1	3'09	Star Wars: Main Title	Includes natural-sounding whistle.	1’00 Portamento upward after key release 2’18 “Dueling robots”, “laughing” instruments
7	3’34	Hora Staccato	Electronic whistling, orchestra sound	3’07:  Single harmonics fan out into nonharmonic sound, whole mass drops in pitch, then converges back to harmonic sounds (very effective display on the real-time spectrum analyzer).

Track	Length	Artist / Title	Description	Comments
2	5’00	Phil Burk, Squiggle (1992).	Duet for two DSP 56000-based real-time synthesis systems. Performer controls two synthesis parameters together by the x,y movement of a mouse. The performer can make a musical gesture by drawing a squiggle.	Sounds like FM
8		Phil Burk, Relnet (1992)	From linear notes: “The sounds in RelNet are created by real-time software synthesis. The pitches are derived using relative (as opposed to absolute) just intonation. In absolute tuning, pitches are whole number ratios of a fundamental pitch. In relative tuning, new pitches are defined as whole number ratios of previous pitches…. FM synthesis is used for creating the timbres. The performers control the carrier/modulation ratios and amplitude envelopes. This piece is performed using two or more host computers linked together in a MIDI ring network. Each computer has its own DSP system. Note event ‘tokens’ are passed around the network. Each token contains the frequency of the previous note and its duration. When a host computer receives a token it calculates a new pitch, plays it, then passes a token to its neighbor. The performer can also control the creation of tnew tokens, or ‘eat’ incoming tokens.”	Distinctive R2-D2 noise at 0’57. Relatively pleasant to listen to this piece in its entirety.
14		Robert Marsanyi, Study for Lurch (1993).	“Uses a population of small kernels of self-modifying DSP code and two sources: an internally-generated sine wave, and one channel of FM or AM radio. The performer plays a MIDI controller reflecting how (s)he feels about the sound of the piece at any given moment.”	Interesting display on real-time spectrum analyzer, gives some ideas about how the warbling noises on sci-fi television shows might have been developed. (first 3 minutes is sufficient).

Track	Length	Artist / Title	Description	Comments
1	20’42	As Falls Wichita, So Falls Wichita Falls	6’45 Drum sequencer, ‘organic’ synth sound underneath percussion solo 8’36 Falling pitches (easy to spot in spectrum analyzer display) 9’30 Bell-like FM sounds 4’08 Thick, low-freq synth sound by itself (includes spoken numbers)
4	8'17	“It’s For You”

Track	Length	Artist / Title	Description	Comments
1	6'00	Johanna M. Beyer, Music of the Spheres (1938) as	Performed by The Electric Weasel Ensemble	Sinusoid used for melody, effective display showing relationship between pitch and spectrum analyzer display.
3	8’09	Pauline Oliveros, Bye Bye Butterfly (1965).	From liner notes: “This work is a two-channel tape composition (with an enclosure) made at the San Francisco Tape Music Center in 1965). It utilizes two Hewlett-Packard oscillators, two line amplifiers in cascade, one turntable with record, and two tape recorders in a delay setup. The composer arranged the equipment, tuned the oscillators, and played through the composition in real time.”
4	5’37	Laurie Spiegel, Appalachian Grove I (1974)	From liner notes: “The three pieces in the suite Appalachian Grove I were composed in 1974 and were Spiegel’s first attempts at computer-generated tape music after thorough study of the GROOVE programming system invented by Max Matthews. It was composed just after a visit to the Fiddler’s Grove Festival in North Carolina and is indicatove of Spiegel’s affection fo tradional banjo and fiddle playing which stems naturally from her study of other plectra. By means of computer control she is able to create a fascinating interplay of modal stereophonic hockets and also to change from pointillistic pulses to more extended ones with ease. Like Patchwork, she notes that the piece ‘was composed in reaction to an overdose of heavy, sad, introspective contemporary music.’ This is the first piece of the group of three.”	Good one for Dave Voltmer
6	5’32	Ruth Anderson, Points (1973-74)	From liner notes: “Points is built from sine tones which are the basic building blocks of all sound. As the smallest unit of sound, a sine tone is a single frequency focal point of high energy. In this work, such points occur on various arcs which float in and out of one another. Separte sine waves enter at five-second intervals, accumulate ina long veil on one channel while another set of sines then is introduced on the second channel, and continuing this way with the veils of sound shifting in and out of each other.  “The high focus of energy of a sine wave, the outzier breathing interval of five-second entries, the calm of the veils and timeless quality are some of the elements I can isolate which have made this a healing piece, one the constantly generates in listeners a sense of repose and quiet energy.”	Excellent way to introduce additive synthesis (use spectrum analyzer)