Recording of Carl Stone's 7 Confusongs.

Recording of Edgar Guzman's 11.09.01. This is a work for electronics and was written as an homage to the victims of 9/11. It includes various sound samples from radio and TV broadcasts as well as fragments from Mozart's 'Lacrimosa'. The composer has included a recommended speaker layout in which all 8 channels are surrounding the audience in a circle.

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 Agnieszka Waligorska's 6th day. This work is for electronics, voice, pre-recorded manipluated sound, and saxophone.

Recording of Tae Hong Park's Aboji. This work is a companion piece to "Omoni", both works being composed originally for two channel playback and subsequently for eight channels. The sound samples used in this composition are mostly speech, environmental, synthesized, and processed sounds that were a result of numerous interviews with various individuals.

Recording of Luigi Ceccarelli's "Abominable A" for magnetic tape. The piece includes the voices of Kadigia Bove, Francesca Furlanetto, Eugenio Giordani, Luciano Martinis, Michela Mollia, Achille Perilli, Marina Poggi, Enrico Pulsoni, Giovanni Puma, Kerstin Riemer, Claudio Rufa, Stefano Scodanibbio, Gaetano Trusso, and Catherine Verwilgen. The piece contains a recitation of all the words in the Italian vocabulary that begin with the letter A, read in sequence from voices with different stamps, rhythms, and intonations. To these are added other sequences in French, German, and English. The work is divided into fifteen sections, each of which has a different criterion for processing the timbre, rhythm, and space. It was realized at the Electronic Laboratory for Experimental Music at the Conservatory "G. Rossini" in Pesaro from 1978 to 1980.

Recording of Joshua Fried's About Howard Johnson/Affirmative. This work uses MIDI in unusual ways. Sound modules become a silent controller of analog gates, and continuous controllers manipulate digital processors in real time. When channel gates are triggered at an even rate, one obtains the well-known strobe effect of slowing down, stopping or even reversing the apparent motion of a rotating object. As trigger cycle and loop cycle move out of phase, bits of sound seem to wander from speaker to speaker through the space. This work also functions as a study for live performances that will process found sound with a combination of selectable algorithms and performer control.

Recording of Trevor Wishart's Les Accords d'Helsinki for tape.

Recording of Steve McCaffrey and François Dufrêne's Les accords d'Helsinki. These pieces are part of a suite for electronics. Sound materials include vocalizations and spoken text.

Recording of Stefan Beyst's Aguiro for tape.

Recording of Germán Toro Perez's Akustisch-visuelle Fragmente aus einer experimentellen Animation. This is a work for electronics and consists of 12 untitled movements.

Recording of Ake Parmerud's Alias. Alias is inspired by the thoughts on the relationship between the composer, Gesualdo da Venoza, and his art. composed of two opposing movements, the first of which is based upon a fragment of a love-song by John Dowland (contemporary to Gesualdo) has been deconstructed, processed and reprocessed into a set of variations output in a linear fashion. The traditional lute-part has been strongly stylized into a chord comprised of the note A-1 and the first 16 harmonics on top. The function of the plucked string sound is however essentially the same as the traditional lute-part. The second movement is an attempt to sketch a slightly surrealistic picture, This is done using quotations from some of Gesualdo's late motets and occasionally blending with them a Dowland lovesong.

Recording of Otto Luening's Alice Shields (excerpt).

Recording of Rajmil Fischman's Alma latina. The composer has this to say on the background of the piece, and of this piece itself: Time is a strange background against which our lives develop. Linearity is usually out of the question and memory cunningly warps and re-invents our past experience to such an extent that the latter becomes alive, threading between past and future. It has been forty years since my personal thread started, more than twenty since I left the birthplace and a long time since my last visit. During all this span - especially after leaving and finding other homes - the conglomeration of conscious and subconscious moments bubbled out, combined with new experiences and created labyrinthine inner passages in which sounds, images, smells and other sensations from different periods mixed and evolved into new forms. Music which was previously dismissed and undervalued suddenly acquired a new significance. Strong images of pain and joy amidst the contrasting richness and poverty of a South American city became representative of a historico-political situation. Taste and scent of food, combined with the physical sensation of dance movement, turned into cornerstones of thought about the essence of human condition. All of these are …

Recording of Christopher Penrose's American Jingo.

Recording of Anna-Elizabeth Hinkle-Turner's American Made. It is an electroacoustic piece using various English and Japanese sound fragments to recreate the sound of a motorcycle's exhaust.

Recording of Trevor Wishart's American Triptych. The composer describes the aim of this work as to "recreate and transform the voices of well-known public figures in order to comment on them or their social context".

Recording of Wilhelm Zobl's Andere die Welt, sie braucht es.

Recording of John Edward Cousins's Anna. This piece is based on recordings made in 1974 at the ISME Research Seminar which took place at the Department of Music of the University of Canterbury. The subject of the seminar was Music and the Preschool-aged Child. Among the invited speakers were two specialists in the field of Musical Therapeutics. As an example of the power of musical sounds on an extremely retarded child, their article defends all therapeutic positive aspects inherent in musical nature. The composer tried to capture, by means of sound, the feeling of both joy and pain that the experience of music gives to a person, disabled or not.

Recording of Trevor Wishart's Anna's Magic Garden. It is an impressionist work that attempts to recreate the agitation of the world from the view of a three-year-old child. The voice is that of his daughter, Anne Ruth. The piece contains sounds both concrete and synthesized. Recorded over five weeks in the studios of San José State University and University of Texas, Austin.

Recording of Christopher Rolfe's The answer which the court give you. The two sections here were excerpted from a longer work for piano and tape. The text material is drawn from documentary recordings of oral arguments before the U. S. Supreme Court, and processed by various resonant synthesis techniques (Karplus- Strong, convolution). The piece sonically depicts that public speakers are fundamentally creating music.

Recording of Lou Mallozzi's Aquapolis. The sound material is language and ambient recordings. The text is written in English, and has been translated into German and Venetian Italian. There are aquatic sounds, body sounds, and sounds of physical labor. Conceptually, the piece is based on a fictional trans-historical walk through an aquatic city, loosely based on Venice. The piece is in four sections: Preamble, 2000 Years Ago, 200 Years Ago, and This Year.

Recording of Candy Trash's Artillerie lourde. The composer wrote this piece with the idea of parenting in mind and separates the work into two parts that represent "father" and "mother" respectively. This piece showcases both the heavy weight of responsibility that falls on parents as well as the joy and support of family. The work has been segmented into 5 separate tracks.

Recording of Elainie Lillios' Arturo. This work is based off of an interview with a tarot card reader living in Denton, Texas named Arturo. According to the composer, Arturo has interacted with many people and learned many life lessons. This piece reflects some of his views on life and the casting of cards to reveal future possibilities.