Performer: pianola player
Score: The original score is a coloured roll in space-time notation on graph paper (a piano-roll also exists).  A digital score (transcription) was made for my Assistant Performer software in 2015.
Performances: none
Recording: A series of live recordings was made on magnetic tape in 1968, but the paper roll gradually disintegrated, leading to unwanted clusters, and the pedals were increasingly loud and squeeky. This tape is still in my archives, but I have not tried to have it converted to a digital format.
In 2016, two new mp3 recordings were made (at 100% and 200% speed) by playing the 2015 score on my Assistant Performer software, using the Virtual MIDI Synth and the Grand Piano from the Arachno Sound Font.
Documentation: About Pianola Music contains the two 2016 recordings and the 2015 score (transcription), together with photographs of the original materials (score, pianola roll and analysis documents).

Performers: wind quartet with automatic conductor
Score: space-time notation.
Performances: First performed in 1970 with a simple, large (2 metre) metronome at a student concert at the Royal Academy of Music. Later that year, the piece was also performed in public (under the title "The Lantern of Diogenes") at the Cockpit Theatre in London. This second performance was conducted by a black, four-armed "lantern" (diameter ca. 5 metres) which was lowered in the dark from the ceiling of the theatre just before the performance started. The audience sat around the players and could see only the players, their music stands and the flashing light bulbs. Each wind-player followed the lights flashing on his arm of the lantern. The music consists of apparently random, longish notes. Random harmonies happen.
Recording: none.
Notes: In the first performance, the metronome’s baton was made from the shaft of an old golf club into which a long, heavy steel rod was pushed at one end. The fulcrum was at the lower end of the golf club shaft, and the position of the weight was adjustable, so that different, very slow “tempi” could be produced. The “tempi” were so slow that they could not be stored in short-term memory. An approaching (silent) “tick” was read visually, as is the case with early, non-ticking baroque metronomes.
In the second performace, the lantern’s arms were constructed out of black conduit piping. At the end of each arm were three (four or five?) small coloured light bulbs mounted on a horizontal wooden slat. Each of the four operators (in the roof of the theatre) had a panel with a bell-push for each of his light bulbs. I lowered the lantern from the ceiling using a large fishing-reel and four invisible nylon threads.
Sadly, neither the original metronome nor the lantern have survived and there are no photographs. Sketches can be found in my notebooks...

Scene One Genesis, Prelude to Act One
Scene Two Machines, Prelude to Act Two
Act One Clytemnestra

Performers: alto-flute, clarinet, conductor, almost inaudible tape (operated by the conductor)
Score: A long roll of paper ca. 85cm on which the clarinet part is written, and a sheet of perforated cardboard ca. 30cm x 20cm containing the flute part. There are also separate parts for the two instrumentalists.
Performances: This piece had many performances during the 1970s. The first performers were Marjorie Shansky (alto flute), Howard Davidson (A-Clarinet) and myself (conductor). We performed it at the Cockpit Theatre and subsequently at the 1971 Dartington Summer School (where Harrison Birtwistle, Peter Maxwell-Davies and Morton Feldman were in the audience).
Recording: none
Notes: The flute part has holes through which the clarinet part can be seen. The cardboard can be aligned anywhere on the roll. The clarinet plays simple notes whose duration is determined by the flutist and conductor. The flutist has unmeasured durations which decorate the clarinet’s notes. The piece stops when the tape runs out (there are five alternative tapes, each of which sounds similar but has a different duration).
Documentation: About The Probability of Harmony (August/September 2020) documents the existing original material, and the making of nine new, different (fixed position) performance scores of this piece.

Performers: alto flute, cor-anglais, bass clarinet, bassoon, conductor
Score: Originally, this was a mobile score consisting of an A1 perforated cardboard sheet under which the parts for three of the instruments were aligned ad lib. (This score is in my archives.) In 1979, I made a fixed version in an ordinary score.
Performances: Apart from the Wigmore Hall performance, this piece had several earlier performances (notably at the Cockpit Theatre and Dartington Summer Schools).
Recording: I have a tape of a very good performance by the Lontano Ensemble conducted by George Mowat-Brown at the Wigmore Hall in London (1981).
Notes: The conductor coordinates and steers unnotated durations. A very voluptuous piece!

Performers: 18 instrumants: 4 e-flat clarinets, 4 b-flat trumpets, 4 horns, 6 ’celli, conductor.
Score: handwritten
Performance: Donaueschingen Festival 1978. Südwestfunk Sinfonie-Orchester conducted by Ernest Bour.
Recording: Südwestfunk
Notes: Experimental time-notation. Duration class symbols define bands of possible duration.

Performers: 2 flutes, 2 b-flat clarinets, 3 vibraphones, 3 violins, 2 violas, 2 ’celli, 1 double bass, conductor.
Score: handwritten
Performance: Theâtre du Rond Point in Paris in March 1982. Ensemble Intercontemporain conducted by Sylvain Cambreling.
Recording: Ensemble Intercontemporain
Notes: Commisioned by the Ensemble Intercontemporain on the initiative of Nicholas Snowman.
Dedicated to Karlheinz Stockhausen.
Harrison Birtwistle, Pierre Boulez and Karlheinz Stockhausen were in the audience.
Experimental time-notation. Duration class symbols defined according to the amount of horizontal space they take in the score. The scale varies from page to page for efficient use of space and maximum legibility.
The double bass part was a problem. I need to transcribe it for some other instrument - possibly a third ’cello or a synthesizer.
This piece, which would sound good in a concert with Schoenberg’s Verklärte Nacht, led directly to my article The Notation of Time (published 1985)
There is a poem in the preface:

Performers: choir (at least 7 S, 7 A, 5 T, 5 B), at least 1 trombone
Score: handwritten
Performance: BBC Singers, conducted by James Wood at St John’s Smith Square, London, 1987.
Recording: BBC
Notes: the time notation is as in beyond the symbolic. The idea of using symbols to express bands of possible values is extended to the pitch notation. The choir pitches, which are freely chosen in ranges related to the individual voices, are constantly sliding in ranges less than a semitone. The trombone(s) plays one note at the end of the piece.
Was written during the first AIDS crisis.