Ever since Cage and Cunningham startled the dance world with their notions of chance, tape loops and random structure, experimental choreographers have sought out likeminded composers with whom they could collaborate on original movement and music compositions. Certainly these partnerships have resulted in scads of creative marvels; more important, though, are the ongoing probings and exchanges between proponents of space and muscle and those of the woofer and tweeter.

The culmination of one such exchange occurred Friday evening, as four George Washington University students joined the well-known new composer John Driscoll in a performance of "Breeding Fog," a piece begun by the composer and fleshed out over the past month by this small band of dance-oriented proteges.

The five performers spent their time huddled around an odd assortment of small boxes, wires and coils, adjusting valves and volumes in order to control the whereabouts and intensity of their music. The sounds that emerged from this pool of people and machinery brought to mind such things as buzz saws, heartbeats, autos on the highway, leaky faucets, electronic heifers mooing, woodpeckers, flatulence. If listening became a chore of a challenge, one could close one's eyes and substitute a dance of one's own for the lack of movement on stage.