Recording of Charles Nichols' Stasis. This is an interactive piece for soprano, MIDI violin, computer programming, and sampler. The count of steps on the MIDI pedal tells the computer which section to perform, while the pitch information received tells the computer which gestures to perform. The gestures are preprogrammed, but in some instances the computer randomly chooses the length or speed of the gesture, or the ordering of the musical material within predetermined limits. The computer drives a sampler which is loaded with samples of the soprano mixed and convoluted with samples of the violin.

Recording of Carlos Cerana's Three short pieces. This work is for clarinet and electronics. There are effects put on the clarinet which allow for the illusion of different sound environments and tone colors. The tape also provides texture, harmony, and an accompaniment for the clarinet.

Recording of Riccardo Dapelo's Kindergarten. This work is for piano and tape. This work is based on the opposition of two sound elements: a child's voice and the timbre of the piano. These sound are accompanied with synthesized sound. The tape flow, with sudden accelerations from piano timbre to child voice ending in a vocal sounds. ( as an exponential "crescendo" ). Piano and tape try to create a perspective illusion, leaving and approaching themselves, alternating foreground presences and background shadows.

Recording of Maria Francesca Ancarola Saavedra's Eolico 2. This work is for electronically processed voice and electronics.

Recording of Karl Friedrick Gerber's IM011194.GFA. This work uses certain percussion instruments and electronics to create an immersive environment with various instruments being played simultaneously with the help of samplers, recorders, and tape.

Recording of Philippe Blanchard's A La bataille. This piece is for electronics. This work has sounds from electronically manipulated voice, pre-recorded fragments, and synthetically built sounds.

Recording of Werner Cee's Solitude / Like a motherless child. This work is for voice, double bass, and electronics. The vocal part of this piece is electronically processed, to create a harmonically dense piece, which unfolds into a transparent sound full of musical gesture.

Recording of Werner Cee's Braindrops. This work is an interactive, audio-visual performance. The installation makes spatial-temporal patterns of the impact of raindrops falling on various sound-making surfaces, creating a complex multitude of generated sound and light structures. Various psycho-physiological signals of the subject are measured using sensors and correlated. Changes in the individual's psycho-physical state are thereby fed back into the audio-visual event itself (biofeedback).

Recording of Vladimir Komarov's Genesis. This work is for electronics and synthesized sounds.

Recording of Hans Tutschku's Nachts. For cello, bass clarinet, percussion and 4-track tape. Poems of Georg Trakl are put in correspondence the world of musical means to make an illustration of the text. Moreover, the tape is composed from recordings of instruments (cello, bass clarinet, percussion) and the voices of actors and singers. For each of the instruments I recorded four layers, each describing an independent rotation around the audience. I work the same way with texts. Moreover each instrument is played "live" which brings an additional layer. The notes are derived from three four-note chords that reproduce the scale.

Recording of John Elmsly's Drift. The tape part uses real-time granular synthesis to processed viola samples. Bowed and plucked sounds has been treated in this way to produce a large-scale mosaic of sounds to background the solo viola part, which explores playing techniques involving small changes in pitch. Such as, fingers, in closer than normal position, produce rhythmic patterns on very small intervals and create a very fluid melody in the upper reaches of the instrument.

Recording of Bruno Capelle Poèmes acousmatiques. This work uses mostly synthetically made electronic sounds and pre-recorded material. The sound are combined together so specifically that truly makes this work a sound poem. The use of electro-acoustic materiel allows for the music to travel within your own stereo listening field sound may appear on the left or right, or move around the space; the sound also differ in the execution of delivery sometimes a gradual transition or very rapidly. The use of field recordings, piano, and objects help bring familiar sounds.

Recording of Philippe Blachard's L'Enfer est un petit début ou "la messe des pauvres" (requiem électroacoustique). Rabelais adored nothing so much as liberty and it therefore takes this anniversary to be remembered a little. The sound sources include Rabelaisian quotations and the five parts of a traditional mass, the selected texts being superimposed on a string of adulterated sounds. The sounds consists of many variety, such as, everyday sound object, voice, and synthetic sounds; which provide many musical dialogue.

Recording of Joseph Hyde's Songlines. The work is divided into 3 movements: 1. Lost for words, 2. Sound objects, and 3. Marine movement, Movements 2 and 3 are continuous. The "Songlines" are ancient paths crossing the Australian landscape. The landscape in this case is then a long set of texts ranging from Inuit myths to Edgar A. Poe. The synthetic sounds act as if they are traveling and with direction, while also finding new directions and new sounds.

Recording of Jonas Broberg's Locations. This work is for electronics and voice. The underlying idea concerns places and life situations one lingers over, and how one copes with the realization of where one is in life. Life situations are not always of our own choosing, and sometimes when we suddenly perceive where we are the experience can be both dazing and terrifying. The characteristics of the electronics conveys this kind of perception and expression, viatext fragments spoken by a female voice.

Recording of Mathew Adkin's Melt. Melt is the description of a train journey. The work is based on the mediation between: regular movement and impulse, and raw sounds or computerized sounds. The basis of the work is live recordings of trains, metro announcements, crowds, synthesized sounds with characteristics of natural sources, and synthesized sounds. Throughout the work, the sounds of the real world mix with the synthetic equivalents of the dream world, like a traveler falling back in and out of a dream day.

Recording of Elizabeth Hoffman's Tesserae. This work is for stereo and computer generated sounds. This work emerged from numerous mosaic-like bits, resulting from experimentation. Techniques include frequency modulation, additive synthesis, filtering, and linear predictive coding. Many of the elements heard in this piece are reminiscent of natural sounds because of such techniques. The sound sources include spoken words and purring noises--the latter used at times as a filter excitation source.

Recording of Michael Ward-Bergeman's Hershe Tube Rundown. This piece consists of a variety of vocal and environmental samples created by the composer. All other timbres are generated from Digital Keyboard's Synergy. There is a constant rhythm to this piece and fun almost child-like energy throughout.

Recording of Jean-Marc Weber's El Fuego. This work is for electronics. This work uses aeolian mouth sound and electronically-made sounds to create an evolving work. It uses time repetitive motifs which begin to fade in and out, leading to the work abrupt ending.

Recording of Jan Pascal Alagna's C'est en forgeant. Sound allegory around the forge, fire, and the transformation of energy, of acoustic exploration of the last forge still in activity in Marseille. Based on the recording of sounds from the forest of pastre, an allegoric journey is offered where the various stages of transformation of metal, water and fire are presented. Other sound's include the Kalevala, Greece index, Gamelan, etc. These instruments represent the historical tradition enlightened by the myth of the blacksmith.

Recording of Elizabeth Anderson's Mimoyecques. The piece consists of two sets of recordings and electronics. One set of recordings would be made in and around the fortress and would serve as the base where the imprisonment, death, and transfiguration themes would be built. The second recording is in the languages of the 18 nationalities of the laborers. The central section of the work illustrates the idea of terror freedom is suddenly, inexplicably removed. The final section explores the concept of the departure of the souls of the victims.

Recording of YeeOn Lo's Hommage a Glenn Gould etudes for a virtual musician. This work is a set of studies for computer, and it is a result from the composer's algorithmic composition. The algorithm uses a small set of inputs such as chord progressions, some formal functions for growth and decay, and simple rules to achieve a controlled aleatory. Then set operations were implemented to achieve unity through appropriate repetition. There are percussive sounds, piano, strings, flute, and electronics.

Recording of Francesco Giomi's That's all folks! This work was composed using solely sounds from TV recordings of American cartoons: focusing on excerpts from Warner's and MGM's cartoons from the forties to the sixties. The samples were both without processing or went through a series of electronic processing such as: Time editing, pitch transposition, filtering, and time stretching. The piece has two main criteria: keeping some ironic aspects of the cartoons, and build a independent musical narrative.

Recording of Christopher Brady's Vietnam. This work is a tone poem and is meant to be a political statement on the psychological effects and aftermath of war, specifically using the Vietnam War. There are speech segments reflecting on past experiences of war and complex dissonant harmonies conveying certain feelings and emotions.