Recording of Florivaldo Menezes' La recherche panique d'écho. It is an electroacoustic reflection on the mythic world of Monteverdi and various Greek myths. It is built of three sections, each focused on a different Greek mythological character. The first section focuses on Echo, the second on Orpheus, and the third on Pan.

Recording of Jøran Rudi's Swallows of Freedom. This piece was composed as music for a dance performance by Hexakin Dance Company, and created from recorded natural sounds. The sounds were processed with software available at the time, and organized in time to fit the choreography.

The idea for this piece came to me on a beautiful spring day as I listened, amazed, the music produced by droplets falling melting icicles. I was fascinated by the sonic complexity, the beauty of such a banal natural phenomenon, which usually receives very little attention. A channel had been dug. Melting in the slush, she would probably end up joining the swollen stream at the bottom of the stream. Everything was there: the climate, the tracks of development, the formal idea. Just be attentive.

Recording of Robert Grassi's Amour énorme. Grassi was responsible for the samples used in the recording. He used an FM synthesizer, tms sampler, and a SPX-1000 effect processor.

Recording of Thomas Bjelkeborn's, Do it again. The compositional work uses breaking dried out tree branches, which are heavily processed with electronic techniques. This sound file has been transformed over and over and with sound mutation and has been split in various sounding directions. This piece uses transformations which are similar to partly human gestures controlling the changes. The resulting sound files were cut, spliced and mixed in a canonic form where the original sound file length has been kept as far as musically feasible.

Recording of Manuel Rocha Iturbide's, Frost-clear energy saver. This piece is made from digital manipulation of a sample recorded from the motor a refrigerator. The fundamental hum taken from the refrigerator is a fundamental note for the chord structure. The sounds hear from this recording include digital tape, double bass, and amplified refrigerator.

Recording of Adrian Carr's, Days of Dreams: yester yesr faded. This piece uses sampled instrumental sounds and the piano part is performed live using digital effects of delay and reverb.

Recording of Xénia Stollar's Magic Round. This piece highlights the tone colors and the utilization of clarinet and electronics. The piece uses many sounds; clarinet, outside sound sources, and electronically produced sounds.

Recording of Michael Casey's Glass / Steal. The initial concept for this work was the idea of creating a piece with a very tactile feel. The sound materials used are various ceramic fragments, objects made from different grades of steel (each with different resonating properties) and hybrids of the two using spectral filtering software. The impression one gets is of being inside a large sculpture 'playing' with the various materials, as we play we discover new sounding possibilities.

Recording of Stephen Gibson's Windows/Strata. This piece seeks to create a idiomatic relationship between the sonic qualities of the employed sampled and the outline of a large-scale form. These samples were recorded at the Buffalo River Grain Elevators, a series of cylindrical concrete structures about 150 feet tall as well as voices from the other participants.

Recording of Marc Verhoeven's De vogel rok. This piece's sound sources consists entirely of 15 recordings of improvised whistling. With the use of tape recorder transposing octave classes where set and utilized in a mathematical way.

Recording of David Sheppard's The question of being. This work is for tape, which contains three sections. The sections are taken from a larger electroacoustic work, "The Humorless Puzzle", which helps link transformations between the present and past work. Section one considers the question of being. Section two look at the process of man regardless of the question, Finally, section three reflects upon consideration and progress. The sound were used by making electronically processed sounds.

Recording of Eric Mulard's Voltiges. This piece take voice and mouth sounds which are accompanied by sound effects. The sounds transform and eventually sound almost fully synthesized. The piece is very transparent and allows for the processing to become the main purpose of this piece.

Recording of Nicolas Verin's Transe metal. It is for tape alone. The work uses SYTER for the sound transformations (essentially based on the same percussion instruments as those used in concert) as well as sound synthesis. Certain percussion sounds have been added, in order to preserve the compositional intentions. This piece is based on a metaphor of the idea that all sound originates from a transfer of energy. The percussive object communicates its dynamics to the struck sound body (mainly metals) and likewise, the sound resulting from this percussion generates its electro-acoustic modification.

Recording of Elsa Justel's Fy-Mor. This piece is divided into ten consecutive sections which show a character of movement, brilliance, rhythm, and humor. The material of the piece is derived from sounds of kitchen tools and the mouth. This is a MCO (concrete music by computer) piece.

Recording of Philippe Blanchard's Brasse Coulée. This is a piece for electronics written using traditional electro-acoustic techniques and sound samples.

Recording of José Halac's India vieja que pretebde volverse joven Tomando sangre de condor. The India vieja (old Indian woman) sings the Baguala, (traditional folk song from the West North of Argentina) expressing her wish to become young by means of drinking the blood of the Condor (immense and majestic bird from that area), in order to be able to enjoy sex and life once again. This beautiful and magical idea inspired me to create this piece. Originally she says the text first beating her "Caja" (Indian snare drum) and then she sings the same text also using her caja. Before I decided that my input would be "in between" the spoken and the sung sections, imposing the idea of getting old all along the piece, using the speed of the words and the stretching of the voices to reflect the idea. The result is at the same time mystical and depicting age, so that there is still a chance of going back in time, of becoming young again even with the strong and irrevocable reality imposed by myself. Both the beginning spoken section of the Indian and the last sung section, have been stretch to give a sensation of …

Recording of Bernard Donzel-Gargand's Mic - Max. In this recording, the composer used three instruments, but each instrument has two parts to it, making it a "duet for six." The composer's goal when writing Mic - Max was to highlight the relationship, the path, the interplay of endurance, tension and relaxation between two characters, these two "sound" bodies, one aggressive and provocative , the other shy and playful.

Recording of Fernando Pablo Lopez Lezcano's Estudio III (Hot 'n cold). This piece was composed on a Next computer using two software packages developed at CCRMA and custom Lisp functions Most of the high level structure of the piece was defined in Common Music, a composition language written by Rick Taube, and all the sounds were synthesized using Common Lisp Music, a sound synthesis and processing package written by Bill Schottstaed. The title alludes to the sometimes-contradictory structures of sound that mutate during the course of the composition. The piece tries to talk about change and permanence, opposites but always part of our life. The piece was composed at CCRMA during the last months of the composer's stay there as part of an exchange program between the CCRMA (Stanford), LIPM (Buenos Aires) and CME (San Diego) Laboratories, funded by the Rockefeller Foundation.

Recording of Katharine Norman's In her own time. In this piece the speaker discusses memories concerning her life in London during the Second World War. Aspects of time and recorded sound replayed and transformed in the present, sound recorded on location, places, and people as they are now and were then also an important feature of this aural documentary.

Recording of Andrew May's Singing boxes. This piece is a work for violin and tape, written at and according to the performer's request. All the tape sounds are processed samples of violin sounds; open string, bowed, pizzicato, col legno, and harmonics. Regarding the title, the loudspeaker and the violin body are both boxes which attempt to sing. The works presents a struggle by each to make its own particular voice heard.

Recording of Adrian Moore's Sérénade d'un petit séjour. This piece uses sound recording and samples for electronic manipulation. This piece often changes between stillness and density while exploring musical spatialization.

Recording of Vicente Rojo Cama's Voces. The sound material used was generated electronically and mixed with acoustic sounds taken from a metal sculpture by plastic artist Gabriel Macotela. The piece was performed in the composer's studio. It was intended to "simulate different voices without the difference between the acoustic and electronic sounds being evident and to create different dialogues between these materials, simulating dialogues between the people who are going to deposit their offerings in the cemetery."

Recording of Anatoly Kisselev's Bolero in 10 / 8. This piece was created with electronic musical instruments and computer technique. There is a strict repetitive form and explores the struggle of two non-contrasting subjects.