Recording of David Alarcon's Oublier Pierre. This is a work for electronics.

Recording of Robert Grassi's L'ouest du palmarès. The composer describes this work as a live improvisation from a sample percussionists and speaker. The instrumentation was created by Yamaha drums and a Yamaha sampler.

Recording of Bérangère Maximin's Le rituel des poupées cassées.

Recording of Victor Hernandez's Naturaleza impura para masas escepticas. This work captures a complex discourse based on the principles of concrete music. The composer used hundreds of microphones and multi-track recording techniques, as well as several hybrid processes to enrich the dialogue throughout the piece.

Recording of Adolfo Nunez's Toda la humanidad habla de troya. This recording is the soundtrack of a video that premiered at the Tabarca Island in the Festival of Contemporary Music of Alicante. It was part of a multimedia show and based on texts by Euripides. The sound materials come from recordings of said text being recited by various actors and philosophers as well as their personal thoughts on it.

Recording of Félipe Santiago Neiro Vega's Nubia. The composer separates this work into three movements that revolve around the psychology of interpersonal relationships. The beginning revolves around the home and uses samples from an active household. The first movement involves the family and the start of a new life while the second showcases marriage. The final movement is friendship and embodies the idea of self-acceptance.

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 Jep Nuix's Intervals. This work is separated into 7 movements: 1. L'Inizio, 2. Monòleg, 3. Resonanzen Für Elisabeth, 4. His Master's Voice, 5. Improvisaciò Per A Tubs, 6. Riflessi, 7. Tonightingale. The work has been recorded on solo CD's.

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

Recording of José R. Sosaya Wekselman's Evocations I. This work is made up of various acoustical sounds all attributed to the environment of the composer when creating this piece. This includes family voices, airports, domestic sounds, etc. The composer has meant for these sounds to create their own evolutionary musical structure rather than be heavily manipulated. He thanks the Spanish Ministry of Culture for their grant which helped this piece come to fruition.

Recording of Mario Verandi's Figuras Flamencas. This piece uses sound manipulation which creates a sonic environment using recognizable flamenco sounds, allowing musical flow as a sequence of superimposed and juxtaposed transformations between the two parallel worlds. The intention is to evoke a metaphorical journey through flamenco, which is "corrupted by surreal sonic creatures". The texts from Federico Garcia Lorca and sources materials from Spanish flamenco music and spoken texts Lorca's "Bodas de Sangre".

Recording of Gonzalo Biffarella's Tango. This work was commissioned by the WDR 3 of Cologne, Germany. This radiophonic piece was inspired by the origin of Tango and uses fragments from old songs as well as a lecture by Jorge Luis Borges about the topic. The text has been translated into German and French for segments of the work.

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 Coriun Aharonian's Secas las pilas de todos los timbre. This piece comes from sound documents of different places and times connected one way or another to the composer. With one exception, all pitches have been left un-modified and while there are no electronic sounds, the piece has been composed with a computer using various software programs. The title partially quotes two lines from the lyrics of a well known tango composed by Enrique Santos DiscŽpolo in 1930, and are untranslatable. It makes reference to the idea of a society in which solidarity is scarce or difficult to find. The composer thanks the generous support of the Studio directors Georg Katzer, Georg Morawietz, and Gerd Rische, and the hospitality of the Akademie der KŸnste, Berlin.

Recording of Adolfo Nunez's Zambra 44.1. The piece is a "zapping", i.e. what is heard by a radio listener that jumps back and forth between three different radio programs: a news show, a broadcasting of a contemporary music concert and a pop-music program. The leading thread are several short texts taken from flamenco popular songs as well as flamenco rhythms and sounds like guitar phrases, clapping, heel-clicking, "jaleos" (shouting to encourage dancers and guitar

Recording of Eduardo Polonio's A-roving. This work begins with a reading of Lord Byson's "So We'll Go No More a Roving" and a story which is spoken in Spanish, about the architecture of Rome. The sounds are both pre-recorded and synthetic; there are nature sounds, sounds from inanimate objects, and synthetically built sounds.

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.

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 Roberto Valera's Palmas (Palms). This work is for voice and electronics. This work contains spoken word, electronics, field recordings, and pre-recorded sound. The work has a more mysterious sound environment and differing electronics sounds complementing the speech.

Recording of Cèsar Amiguet Puig's Dimers liquids.

Recording of Manuel Rocha Iturbide's Moin Mor. In music using concepts or ideas which belong to other domains is something that has been realized by composers for a long time. The central element of sound work is language, which is what characterizes a determinate culture. Language is made out of sound and meaning, out of syntax (rhythm) and out of words (signs) For this work English, Gaelic, and Spanish are used.