Recording of Vladan Radovanović's Audiospacial. The electronic material of the piece consists of real or quasi-simulated vocal or instrumental sounds. The vocal material, on the other hand, sometimes tends towards the electronic sound. The electronic part was realized by combining the two processes. For some sections, the score was established and carried out strictly. Others were improvised using the digital memory of the sequencer. If the electronic part is frozen by the choice of the sound events and their recording, the part reserved for the choir remains open in some zones because the interpreters can decide the rhythm and the height.
In its original form, the work envisages a performance space including concert hall, communicating spaces on the same level, and possibly rooms above and below the hall. Both the electronic sounds are treated as sometimes mobile, sometimes stationary sound sources. The choir is required to move about the performance space according to trajectories coordinated with the time evolution of the score. A version for tape alone (and the corresponding score) has also been made. The electronic material is built up of sounds that range from autochthonous to quasi-simulation of instruments and voices. On the other hand, the vocal material sometimes tends towards an electronic sound. The electronic part was realized by a combination of two procedures. For some sections, the score was designed for "instruments" which had already been defined, and was then strictly realized. Other sections were improvised using the sequencer’s digital memory to store the control data, which were subsequently copied into the score. While the openness of the electronic part has been closed by definitive choice of the sound events and their recording on tape, the choir part, in live performance, remains open in some places, where it is left to the performers to decide rhythm or pitch.