Recording of Agostino Di Scipio's 5 Piccoli Ritmi. For tape music with computer-processed guitar sounds and voice. This work divided into 5 short section, each announced by Spanish voice. The text being read is from a poem by H. Maturana. The sounds are derived from mixing and processing concrete sounds. The processing techniques includes an interactively operated method of real-time recursive granulation and time-shifting. Feedback controls were utilized, so that amplitude and density of the output sound affect the time shift ratio and the pitch in the algorithms.

Recording of Carl Bergstrøm-Nielsen's "11 september." The text is from a document called "What is MIR?" which was sent out illegally in Chile in 1974 and from the appeal of MIR two years after the taking over by the junta, on September 11, 1975. A left-wing party, MIR stayed in Chile in order to contribute as efficiently as possible to the building of the opposition. Other sound material also includes sounds from a typewriter and a demonstration at Bastad, Sweden in September 1975 at a tennis match between Sweden and Chile with more than 4,000 participants. The text is taken in small excerpts from the document in Spanish, English, Swedish, Danish, French, Dutch, and Icelandic. The piece consists of three sections overlapping each other gradually, which shows the relationship between the spoken words and the immediate danger connected with that text. The first section "as a spontaneous statement," deals with the document at its direct background: the silence is broken, in spite of the danger connected with the writing, manifolding papers that criticize the politics and methods of the junta and discuss the strategy of the opposition. The second section deals with the document as a medium of discussion. At …

Recording of Ricardo Arias' 94 eleciones. Inspired by the fascination of the fashionable spectacle of biodiversity. Within the tropical forest, psittacine, quickly show their invasion of acoustic space with repetitive and annoying messages. Sound recordings made in the forest and recordings of paid political advertising. The composer was devoted to cutting and assembling in sequence fragments of electoral sound borders and joining mixed unaltered vocalizations of birds and other animals.

Recording of Juan Blanco's 1789-1989. This piece aims to expose how the French Revolution, through the Declaration of the Rights of Man and of the Citizen, inspired the liberation movements of the people against the oppressive and tyrannical governments. The piece is divided into two parts, which give a sound panorama of the triumph, using electronic and acoustic equipment, the latter taken from songs of the time: "Departure to Place de la Bastille"; "Place and capture of the Bastille", "Lamentation of Louis XVI" and "The Permanent Guillotine", and ends with a few words from the Declaration of 1789, in French.

Recording of Ivan Pequeño's Ahora.

Recording of José Sosaya Wekselman's Alturas, Fuego, Granizo… This work has many sine tones creating harmonies, voice giving dialogue, along with electronically created sounds which add texture and gesture.

Recording of Luís Antunes Pena's Anatomia. This work was created as a phonetical deconstruction of the text "Amor" by Jorge de Sena. The words provide the sonorous and rhythmical material of the piece and, simultaneously they become itself loud poetry. The music is sometimes an instrumentation of the text and, other times the text is music.

Recording of Mesias Maiguashca's Ayayayaya.

Recording of Jorge Rodrigo Sigal's Babel. This work is part of a larger CD project called "Manifesto". The piece is meant for flute, tape, and optional live electronics. The sound materials were recorded in Spain, France, and Mexico City. The composer dedicates this work to Stefano Scarani and it was premiered by Mr. Harrie Starreveld.

Recording of José Halac's The Breaking Of The Scream. This work was inspired by a folk song from North West Argentina called "Baguala del Tigre" and a poem written by Argentine poet Pablo Anadon called "Seasons of the Tree". The main ideas from both of these works converge into this composition.

Recording of Fernando D. Polonuer's Breve reseña sobre los sueños, el vacío y la enfermedad. This composition is described as a program category work. It represents three steps in a painful and unconscious way to self-destruction. The dreams: the perception of loneliness and memories. The emptiness: the wake up, the light, the reflection, the comprehension. The illness: self-destruction, the fight for survival, pain and defeat. This work includes voices which have been recorded in different years. There is a voice singing fragments of a Tango called "Sus ojos se cerraron" and spoken words with thoughts about linguistic texts. Included texts and quoted material are listed by the composer, in English, as follows: "Today, my heart is lonely..." / "This silence is so cruel, is hurting me so..." / (Spoken) " Promises: can't they be true or false? When you say 'I promise!' that is already a promise - even though it might be a lie. Eh, I don't like that one bit!" / (Spoken) "Unreal conditions, I swear..." / "Intertwined tears refuse to come out..." / (Spoken) "The amount of indirect sense that is usually implied is an immediate problem..." / (Spoken) "She says there is a distance between superficial …

Recording of Sue Mac Gown's The Camelian Sea. The Camelian Sea is an electroacoustic performance work for tape and voice. It is based on and incorporates an excerpt of the poem "The Carnelian Sea" by Joy Kirstin. This work explores the connections between relationships among women and the legacies left to us by our foremothers who live through centuries of being silenced by oppressive forces.

Recording of Rubén Hinojosa Chapel and Bérengère de Tarlé's Camello. This work tells an imaginary story by taking elements from real life including the sounds of public transportation in Havana. It is a soundscape of a part of the daily life in Havana. The composer points to the importance of the words in the piece from people speaking and public announcements as it holds symbolism for the Cuban people. This work premiered at the "XIII Festival de La Habana de Música Contemporánea".

Recording of Andrés Lewin-Richter's Caminando... part III. This work consists of 3 parts that are meant to be played continuously. It was commissioned by the Spanish National Radio and the Spanish Center for Contemporary Music. It celebrates the 100th birthday of Nicolas Guillen, a Cuban poet, whose voice has been used in the piece. The title means walking and is meant to reference the "walk" of life.

Recording of Hans Ulrich Humpert's Candide: Unterwegs - en cheminn en el camino - Away. This piece includes periods of overlapping voices, with voices speaking in French, German, English, and Spanish; sometimes these overlaps consist of two voices in different languages, sometimes more.

Recording of Juan Amenabar's Cantiga en el umbral. For voice, pre-recorded instruments, and electronics.

Recording of Daniel Amadeo Zimbaldo's Cartas desde el Real Hospital de Lunáticos. Work for soprano, flute, violin, violoncello, piano, percussion, and tape. Based on the book "Mrs. Caldwell habla con su hijo" by Camilo José Cela, the work tells the story of a mother who writes letters evoking her own dead son with particular lyricism. This evocation generates rhythms of tension and rest. The dissociation of reality is symbolized by the different timbres of the acoustic instruments; the predominance of an inner life given to fantasy is expressed by the electroacoustic material.

"Chicharra's" is an ode to the Spanish landscape and the men populating this landscape. Sounds of nature such as the breath of the wind, the rushing of the rain, the rustling of the sea carry life in themselves. Thus the rustling of "Chicharra's", the cicadas, their singing narrative was recorded as a set of precious voices. These voices were sent electronically to the strings and then turned into new sounds. This process is comparable to that of instrumental music where the violin bow is coated with coniferous resin to awaken sounds. Thus the buzzing of the fly on my microphone has been transformed into a kind of huge chorus of men. With the poet Schierbeek, I exchanged the Spanish landscapes that we saw and listened to. From there, the poems are born. Poems with the subject of the little donkey, famous because irreplaceable, men work the earth, the thirst, the red earth, the dark wine, the family life and the evenings of Spain. It is the beautiful voice of Lino Calle de Segovia that I chose as an interpreter and it is by kissing the glance, in memory, the mountains of Gadarama that I consider "Chicharra's" as a tribute to …

Recording of Juan Manuel Marrero's Come la voce della coscienza.

Recording of Carlos Fariñas' and Sergio Barroso's Corales poema sonoro. This piece is excerpted from a show, "Dialogues," for band, instruments, images, and the public performed with Sergio Barroso in 1971. The sound poem is based on a montage of Cuban poems, which goes from a poetic enumeration of Cuban plants and trees to quotes from Macbeth and fragments of the Campaign Journal and other political narratives of José Martí (revolutionary, poet, founder of the Cuban Revolutionary Party, ideologist, pioneer of Latin strategic anti-imperialist thinking) written on the eve of his fall, fighting. Texts read, transformed concretely and electronically.

Recording of Pekka Siren and Agnieszka Waligórska's El Coronista de.... This work contains field recordings in the highlands of Spain and around the village, Sallant de Gallego. The intention of this work was to create acoustical scores from the photographs and visuals captured during these trips to Spain. This composition is for solo tape.

Recording of Diego Losa's Cronicas del tiempo. This piece is an acoustic transcription of memories - the past, present, and future in the form of a story of a travelling man. This work, composed and played through a multi-channel system, deals with the unconscious; a reflection on sensations drawn from original sounds of Buenos Aires recorded at various times and then transformed with GRM Tools.

Recording of Antonio Mastrogiovanni's Cuauhtémoc. The work "Cuauhtémoc" is dedicated to this young Aztec king, who defended the city of Mexico against the Spanish conquerors commanded by Hernan Cortes. During the siege of this city, nine-tenths of the Aztec population was exterminated, and Cuauhtémoc himself was tortured and assassinated by Hernan Cortes. Three fragments of indigenous texts are used in the work: The first text is the one recited on the occasion of the birth of a Mexican child, and is mixed with the name Cuauhtemoc. The second text is a description of the Spanish army. The third text is a description of the city of Mexico after the cruel siege.

Recording of Cèsar Amiguet Puig's Dimers liquids.