Also here is a sort-of-solo work called Piece for Clarinet and Tape (1975), in which Gary Dranch’s instrument engages in the usual wide leaps and squawks typical of a certain kind of contemporary extend-the-instrument-beyond-its-comfort-level composition, while the electronics blip and burble above, below, in front of and beyond the wind instrument. This work sounds much like many, many others written in the 20th century by composers who at the time were fascinated by the soundscapes made possible by electronic rather than acoustic manipulation of aural material.