Recording of Fredrick L. Malouf's Family Reunion (Remix 1). This work is a "remix" of a recording of the composers family reunion in 1995. There is a range of material from snoring, a game (Mad-Lib), conversation and laughter. There were 22 people at this reunion where the original material is rich with rhythm, sound, music and noise. It wasn’t necessary to do much processing, but rather enhance the source material and enhance the richness within. Very little processing was used, since the material speaks for itself.

Recording of Anna Rubin's and Laurie Hollander's Family Stories: Sophie, Sally. This work uses narrative, sampled ambient sounds, and computer-generated music. The narrative tells the story of Anna Rubin's mother, Sophie, Anna being raised by Sally, a surrogate mother, and her journey as an immigrant in Atlanta.

Recording of Roxanne Turcotte's Fantaisie Urbaine. This is a work for vocals and electroacoustic sounds. The composer describes this piece as telling a story of different people walking through a city, meeting and discovering new things. Various sounds illustrate the suspense and intrigue.

Recording of Sten Hanson's Les fascistes de santé. This is a work for electronics that includes English spoken word and distorted voices.

Recording of Lutz Glandien's Fear of flying. This is a work for electronics that consists of plane sounds and spoken word.

Recording of Francis Dhomont's Figures de la nuit (Faces of the night). This piece is about dreams and the concept of one's existence within the night. There are samples of voices, sine tones, nature, and electronically built and/or manipulated sounds.

Recording of Katharine Norman's Five minute wonders. This work consists of 4 movements: 1. Anything from the minibar?, 2. Oranges and Lemons, 3. Something quite atrocious, and 4. You need a cab?. The composer describes this work as midway between music and documentary that celebrates the "wonder" of a particular time and place.

Recording of Yasuhiro Otani's The flash of the summer. There is a possibility to explore creativity through Technology using programs which were designed to include one's consciousness. We can feel construction of music and the structure of this work. Program will perform with a lot of technique such as collage, improvisation and realtime electronics. This piece used programs MaxMSP and Supercollider.

Recording of Ipke Starke's Flurstück. The composer denotes "Flurstück" as meaning a piece of countryside, a rural landscape (Flur), which is private property; this is important to a central theme of ownership and its interactions with natural environments vs more "technical" atmospheres. It is described as such: The background of the piece is the dismemberment of the landscape, the subdivided land. From this are born the images. Fields, travel, property, appropriation and expropriation, the battle, fields of march in songs of the consequences. The beautiful atmosphere is disturbed. The notion of ownership must appear in the title: we listen differently when we think of ownership. The composer's interest is in particular in the different silences that were recorded in the countryside in specific favorite places. Added to this are "technical" atmospheres, incidences and "hinges" which oppose natural environments, and which are a reflection and documentation of their confrontation, of the division of the earth. The very precise measurement of the landscape is transmitted to the structuring of the piece by precisely measured durations, unequal, rhythmic, but not insertable into a frame. After the journey through these images of boundaries and fences, and faced with this frustrating experience, the composer notes …

Recording of Takehisa Kosugi's The fly for tape.

Recording of Lars Gunnar Bodin's For Jon - Fragments of a time to come. The work is a dramatic cantata, with vocal sections for both chorus and soloists alternating with recitatives and instrumental interludes. It is based on a series of texts characterized by a kind of "surrealistic science fiction" testimony and reports about experience in other worlds, real or imaginary. The texts are never sung but are often melodically "coloured", "composed" with the aid of electronic means. The composition also includes a mixed chamber chorus of twelve singers and a soprano soloist.

Recording of Gunner Møller Pedersen's "For Marguerite, Motherhood, and Mendelssohn" for tape.

Recording of Christian Calon's Fragemnts pour Ulysse. Work for electronics, voice, and pre-recorded sound. This work is also made up of six sections.

Recording of Vladimir Komarov's Freedom.

Recording of Ton Bruynèl's From the Tripod. "Give me the strength and courage to contemplate this world without disgust." Baudelaire We hear this quote at the end of Ton Bruynèl's work as a mechanical bird passes and bells ring. This program music musically traces a kind of history of the West commented upon by a group of women, from Grace to American society. "From the Tripod" is a piece for loudspeakers, women, and listeners.

Recording of Ton Bruynèl's From the Tripod. This program music musically retraces a kind of history of the West commented by a group of women, from Greece to American society. Charles Baudelaire's quote "Give me the strength and courage to contemplate this world without disgust," is heard at the end of Bruynel's work as a mechanical bird passes by and bells are ringing. From the Tripod is a piece for speakers, women and listeners.

Recording of Pierre Jodlowski's De front (Quatuor). The idea of ​​this piece is based on a set of writings around the processes of aggression in humans and animals, as well as on the notion of frontality (which relates to the intermediate, fuzzy zones of our experience - physical or intellectual). The principle of the work (hence the precision quartet) is based on the development, "in concentric circles," of four groups or entities: 1. clarinet / trumpet; 2. percussion; 3. string quintet; 4. parts electronics. These gradually close in on the listener. This convergence takes place through processes of accumulations and encounters in which perception passes from individualized states to a group feeling.

Recording of Massimo Carlentini's Fusione Virtuale.

Recording of Alejandro Vinao's Go. The text used in "Go" was written by Ian Cross. It consists of 10 phonemes that as a set may form interrelationships analogous to those implicit in the 10 chords of chorale on which the piece based. The most prominent phoneme is the one, which gives the tittle to the piece, and the idea of the piece is to convey the concept of action as an absolute phenomenon in itself, without subject or object.

Recording of Jacob Ter Veldhuis' Grab it !. This composition was based on voice samples from American prisoners sentenced for life, taken from a documentary called "Scared Straight". The composer used pitch, rhythm, and melody to turn the spoken word into a musical theme.

Recording of Åke Parmerud's Grains of voices. The piece is composed as a continuous flow where thematical ideas and voices are formed. The opening of the piece uses the biblical words of genesis where "darkness" and "light" has been substituted with "silence" and "sound". The second part of the piece has the theme of memories of childhood in the form of lullaby's and children's songs from different country's. The next section carries the theme of prayers through the combination of the provocative poetry of A. Ginsburg, a Hindu evening prayer, a Balinese and a Fijian priest, and finally a New Delhi citizens right demonstration. The last section of the piece is born as a slow transformation from the dramatic to the ritual music.

Recording of Sébastien Roux's Un grand ensemble. This is a work for electronics that includes English and French spoken word.

Recording of Brenda Hutchinson's A Grandmother's Song for tape, in 5 parts: I. The Reunion II. The Peach III. Father IV. I Forgot V. Brother Day. This work was created at the Center for Music Experiment at the University of California in San Diego.

Recording of Guillermo Galindo's Haiku. For electronic, pre-recorded sound, voice, and flute. Based on a poem by Michael McClure, Haiku II represents nature and humans transcendental connection. Recorded and processed nature sounds coexistent and the flute material was derived from digital transformations. The original recording includes sounds of crickets, grasshoppers and cicadas and was digitally transformed in order to emphasize harmonic or textural content.