This piece exists in 3 forms: on paper, as a studio multitrack scratch recording (as I the composer heard it) and as a performance recording (as we 5 players did it that day at IU: me; James Aikman; Armando Tranquilino; Antonio V. Escueta, jr.; and this guy Glen I think his name was. That concert was probably the most fun thing I did in my entire academic career. I give both versions here as an illustration of the differences — simultaneously worse and better — between what the composer hears and how it sounds when it's given to other people to play, and face it, without performers, pieces really do not exist in any meaningful way.
Why 5 synths and jews-harp? Because the jews-harp makes a very synth-like sound, and I programmed the DX7 to make several sounds that tried to imitate it.