Recording of Satoshi Sumitani's Quark-G.

Recording of Simo Lazarov's Couches 7s. This piece uses 7 different layers of sound mixed to create a musical picture of Bulgarian folklore.

Recording of Nicolae Brînduș's Match - Monody I & Polyphony IV. It is a version dedicated to the Ensemble "Ars Nova" from Cluj Ð Romanian and based on collages of traditional folk dances from Romania's northern area of Maramures and ancestral laments from the regions of Banat and Oltenia. The final tape was re-positioned in the frame of the performers' controlled improvisation live which follows the same principles of composition. It became a sort of an ancestral memento to the momentary performing act. The music on the tape evolves from the natural sound of the folkloric sources, quoted as such, to its multiple subsequent electronic transformations, coming back to the same folkloric quotes in their natural sound at the end. All the process of transformations represent the pulsing and not pulsing metric type of musical activity (tempo strie and tempo lisse so as described by Pierre Boulez).

Recording of Ákos Rozman's Impulsioni I-IV. Impulsioni I-III was realized at the electronic music studio EMS in Stockholm. The three etudes are built on synthetic sound material. There is a strong influence from The Basilica di san Clemente in Rome and a sense of Good and Evil, a theme that was to remain important all through Rózmann’s life. In 1981, he made Impulsioni I-IV adding on a fourth part containing sounds from sparrows, among other things.

Recording of Wes Richard Wraggett's The Trials & Redemption of Henry.

Spaces first, they coexist, they pass from one to the other, mix, then, a break, the dimension is different: we have entered the micromonds of the sound that develop, as if the spaces had become immense -

Recording of Þorsteinn Hauksson's Are we? performed by Ensemble Intercontemporain under the direction of Fabrice Pierre. The piece if for two trumpets, two trombones, two percussionists, and tape. The message of the piece of music is unstated by the composer, but he says "music of the Muses can express it in a much clearer way" than spoken or written words.

Recording of László Dubrovay's Reszere for percussion and tape.

Recording of Coriún Aharonián's "Esos silencios" ("Those silences"). "Esos silencios" are the silences of our daily vital experience of the seventies in almost all Latin America. "We do not desire them, but they surround us always, until we finally succeed in breaking them," Aharonián wrote. It exclusively uses materials of microphonic origin. Some of the sounds have been made with instruments constructed in Guatemala by Joaqu’n Orellana. The decision to bring to life the piece at that historic moment was convergent with the emotional experience that the pricking edges of the delicate drawings by the Argentinian-Uruguayan Mar’a Carmen Portela and the gagged yell of the dramatic paintings by the Uruguayan Hilda Lopez. In Esos silencios there is a will to establish large, apparently static, areas, with latent tensions, in a structure of full hard edges, almost without the concession of transitions.The piece was originally composed in 1978 and was revised in 1981. It was realized in Elac, the studio of Montevideo. The materials of departure have been produced by the author

Recording of Ricardo Mandolini's Cancion de Madera y Agua. This is an electroacoustic piece that was created with concrete sound materials. These materials include water and wood which are represented by means of two different musical propositions.