Recording of Takehisa Kosugi's Catchwave 71.

Recording of Roger Doyle's Rapid eye movement. The title refers to the type of sleep called "Rapid Eye Movement" or REM, which is dream sleep. During REM sleep, the muscles of the eyes move as though the dreamer were watching something. Structurally, the work is conceived in the same way as Déjà vu occurs in life. There are 30 or 40 instances of mysterious familiarities of the same sounds placed in totally different contexts. Like the human cell, any extract from the composition will reveal the main elements comprising it - the part reflects the whole.

Recording of Elżbieta Sikora's The waste land, for fixed media. The piece is a journey through time and spaces. The present is mixed with the past, the ordinary with the extraordinary, dream with reality. The work was commissioned by the Experimental Studio of Polish Radio and was realized in October 1979. The text comes from T. Elliot's poem "The Waste Land."

Recording of Francis Dhomont's "Sous le regard d'un soleil noir" )"Under the Glare of a Black Sun") performed by the speakers Pierre Louet, Marthe Forget, and Arthur Bergeron. This is the original recording of the piece that was created in 1982. The text is primarily by Ronald D. Laing and the piece also features quotes by Plato, Franz Kafka, and K. Georg Buchner. The eight sections of the work were inspired by reading the work of the psychiatrist and psychoanalyst Ronald D Laing. The eight sections of the piece are as follows: 1. Pareil a un voyageur perdu (Like a Traveler Who's Been Lost); 2. Engloutissement (Engulfment); 3. Arrête! Arrête! Elle me tue (Stop it. Stop it. She's Killing Me); 4. Implosion; 5. Le moi divisé (The Divided Self); 6. Citadelle intérieure (Inner Citadel); 7. Pétrification (Petrification); 8. Le message quand vient le soir (The Message at the Coming of Night). The piece focuses on the experience of schizophrenia, something Dhomont calles a "particular form of human tragedy... the dissolution of the being and the exploding of personality, where a universe of implacable confinement is constructed." The "clinical commentaries" of the narrators, as the comments of a therapist/coryphaeus (though not …

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 Jacqueline Ozanne's "Son recif" for voice and tape. This piece comes from a work on the myth of the sirens and includes texts written on this theme in their original languages. As the singer/speaker repeats the story, it is crossed by the sounds of these languages, by songs that cannot continue, as well as successive states of emotion. The electroacoustic tape plays a constant dramatic role: sometimes worrisome, sometimes reassuring, sometimes enveloping presences, it continually influences the interpreter in their vocal and dramatic production. The performance includes a video projection.

Recording of Alcides Lanza's Sensors IV performed in 1984 by the McGill Concert Choir, conducted by Christopher Reynolds. The tape was realized at the Composer's studio (SHELAN Studio) and McGill University EMS in Montreal, QC, Canada. The piece explores different techniques of vocal wiring, especially the relationship of semantics, languages, and memory. The word "Memory" constitutes the entire text for the piece - using letter sound, recombinations of the word, and adding syllables from other languages that share similar etymology. Recording of the word "memories" -- Meg Sheppard's voice -- is used in the realization of the piece.

Recording of Dieter Kaufmann's Chanson.

Recording of Dimitrios Iatropoulos's "Le soi, le choix et les autres" ("The self, the choice and the others"), five songs composed on the voice of Tibby Sachet. Iatropoulos calls this work a "composition psychoacoustique" ("psychoacoustic composition"). It is a study on the expansion and travesty of the voice that corresponds to the continual contradiction between the self and the choice of the woman. The choices the woman is faced with it that of active/passive, dad/mom, woman/girl, self/others. It is a representation of average female forces in a medium social environment in a language that is not too formal and not too casual. The intensity of the sentences are amplified by the montage on the magnetic tape which reflects the speed of the woman's thoughts.

Recording of Martin Schwarzenlander's Unter dem Pflasterstein liegt der Strand. The music is interspersed with text about demonstrations in East Germany during the 1970s.

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 Frances White's The old rose reader. This is a work for electronics that includes spoken word and flute performance. This recording includes two tracks, one for tape only and one with tape and flute.

Recording of Yves Daoust's Ouverture. This is a work for electronics.

Recording of Jesús Torres' Himno a las lesbianas. This is an electroacoustic work that includes sound objects of the same type (news, voices, groans, etc.). These sounds create a collage that shows a distorted view of humor in a cumulative and destructive series. This series is linked to Schwitters' Dadaism, the notion of surrealist chance and the desire to dissolve the border between art and life. Overall, it represents the aesthetic of negation.

Recording of Jésus Jara's Cadaveres exquisitos. This work is for electronics that includes tuba sound samples. It was performed at the Alicante International Contemporary Music Festival which fell under the theme of "The View of the World".

Recording of Dirk Veulemans' The weasel is living on the lofts now. This work is a composition for flute with digital processing and 8-track tape. This piece is inspired by our present cosmopolitan, informative, and communicative life environment. The tape version is made from several life recordings.

Recording of Gérard Torres' Shalala ware. This work reflects a love story between a virtual couple, Fred and Cathy, who sing their song "Shalala" throughout the piece. The composer has separated this work into four parts: 1. R.A.M., 2. Shalala Song, 3. Love is bossa nova, and 4. Free loop. Each part has its own mode of composition.

Recording of Robert Grassi's L'ouest du palmarès. The composer describes this work as a live improvisation from a sample percussionists and speaker. The instrumentation was created by Yamaha drums and a Yamaha sampler.

Recording of Edmund Campion's L'autre. This work explores the similarity between "consciousness and the unconscious" and the "contention for ascendancy between poetry and music". The piece begins with an emergence of consciousness - the birth of language out of sounds and syllables and dives into the development of the two elemental principles.

Recording of Jorge Rodrigo Sigal's Babel. This work is part of a larger CD project called "Manifesto". The piece is meant for flute, tape, and optional live electronics. The sound materials were recorded in Spain, France, and Mexico City. The composer dedicates this work to Stefano Scarani and it was premiered by Mr. Harrie Starreveld.

Recording of Milos Betko's Personal relations. This piece is segmented into 9 parts by the composer: 1. just before, 2. micado of mammoths, 3. speech of birds, 4. celestial threats, 5. song 1, 6. up and down, 7. song 2: "How many times it sings...", 8. emotions, 9. trio. It's comprised of background noise, violin, voices of the composer's friends, etc. The piece seems to be a collection of sounds that the composer relates to his personal life and day to day.

Recording of Lennart Westman's Sweden. The music of Sweden was composed already in 1997. However, in 1999 the collaboration with the visual artist Gunnar Jutelius was set about which resulted in the intermedial work Sweden is today. It has been performed in the autumn of 1999 at Café Umbra and Fylkingen in Stockholm, Sweden.

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 Hans Ulrich Humpert's Candide: Unterwegs - en cheminn en el camino - Away. This piece includes periods of overlapping voices, with voices speaking in French, German, English, and Spanish; sometimes these overlaps consist of two voices in different languages, sometimes more.