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GENERAL INSTRUCTIONS

The list we are sending you is subdivided into four sections
concerning:

The studio itself

its works

Other works that could have been produced there
An authors! index

Would you please check in the list all the numbered points
listed below:

? A -~ The studio itself

1) Check the year of foundation of your studis, and its
official title,

2) Indicate which of the four following categories your
studio comes into:

a) officially sponsored, permanent

b) using "official" equipment (e.g. at a radio sta-
tion), but not permanent, "improvised"

c) private equipment, permanent

d) private equipment, impexmanent, "improvised"

In many cases a studio of a) or c) began as one of b)
or d): please indicate the early date in brackets,
followed by the date at which it became permanent -
@egs (1953) 1957

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? B ? Its works

4) Check the order in which compositions are listed. We
feel that a chronological order is better for a histo-
rical picture of the development of tape music, so
that we have rearranged the list of compositions that
were given in the original "R?pertoire" into a roughly
chronological order,

5S) Give the titles of compositions in the original langua~

ges, except in the case of different orthographiess

we will add translations of all these that are not in
English, French, or German, whenever this seems neces-=
sary. If you already have "official" translations of
the titles, we would be grateful if you would send
them, When we list a title in inverted commas (" "),
this is a translation we have found, or an approximate
version of the title we have translated into your lan-
guage.

Add the correct details whenever we have put a quese
tion mark: these are mostly for the numbers of tracks,
and for durations (when the duration is variable, as
in a "mobile", please indicate the maximum and minimum
durations). A question mark preceeding the author's
name stands for a general lack of information on our
part concerning the item listed.

Indicate the function of every work, apart from those
intended for concert performance, and whenever the ta-
pe is combined with live performance of voices or in
struments. We intend to use the following categories:

concert, study, radio, TV, film, theatre,
opera, ballet, signature tunes, background
music (for exhibitions, etc.), total thea-
tre (happenings, etc.).

Indicate methods of distribution apart from the stu
dios: gramophone records (symbol *), and tapes on hire
or on sale from music publishers (symbol +), ete.

We have given the details of those that we already
know in the far right column. Please also indicate
any published scores.

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? C ~ Other works

9) Check the works listed at the end, under ? ? 7: some
of these may have been produced in your studio, in
which case please indicate this, Otherwise please let
us know, if possible, where these pieces were compo ~
sed, and let us have the addresses of the studios or
the individual composers.

10) Do you know of any other studios or individual compo~

sitions produced in your country that we are unlikely
to know about?

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? 0 ~ Authors! index

11) At the end we give an index, which will be incorpora-~
ted into a complete alphabetical index of the documen=
tation. Please always give the composer's full name,
country of origin (and of permanent residence, if dif-
ferent), and year of birth.

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? E - Other informations

12) We hope to be able to give appendices on:

i

Predecessors of tape music, giving details of
experimental works from before 1948 that use

gramophone recordings or music drawn on film

sound=tracks,

Use of computers, synthesizers etc. for the pro-
duction of tape music,

NF lectronic-instrumental" music or "electronic
music without tape".

Use of tape by poets, and manipulated sound in
connection with painting and sculpture.

Didactic courses organised by studios, and gra-
mophone introductions and radio programmes about
tape musice

We will welcome any information you can give us on
these subjects.

Finally we would appreciate any documentation that you could
send us in addition to correcting our list, such as concert
programmes, programme notes on compositions, articles, and so

Ons

We would like to thank you for your cooperation, and wish you
and your studio every success in the future.