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 Jadel Andreetto's Slow Motion Tarantula. This is a work for electronics that includes German spoken word and flute.

Recording of Christian Banasik's Wenn die klagestimmen der stadt II.

Recording of Sven-Erik Bäck's Hommage aux grands faux penseurs.

Recording of Jean-Louis Belmonte's Odissey. This work was part of the "Synthese" Festival in Bourges.

Recording of David Berezan's The wall and de panne. This is a work for electronics that includes various vocal sound samples.

Recording of Marc Beugnies' Herd !. This work was inspired by the concept of fire in the wintertime and uses sample fire sounds as well as excerpts from Wagner's Feuerzauber. The word "Herd" is used throughout the piece, which in German translates to "hearth" or home.

Recording of Gonzalo Biffarella's Tango. This work was commissioned by the WDR 3 of Cologne, Germany. This radiophonic piece was inspired by the origin of Tango and uses fragments from old songs as well as a lecture by Jorge Luis Borges about the topic. The text has been translated into German and French for segments of the work.

Recording of Andy Birtwistle's Steel II. This work celebrates and mourns the failure of the Modernist dream represented by poet, Geoffrey Bridson's, 1937 broadcast: "Steel: An Industrial Symphony". It also captures the sound of an optimistic, heroic Modernist in the 21st century and how the new century would sound in contrast to the last.

Recording of Pierre Boeswillwald's Pour la mort de Danton. This is a work for electronics.

Recording of Jürgen Bräuninger's Tans-Trypticon.

Recording of Jürgen Bräuninger's Panta Rhei. This piece is connected for one female dancer who is connected to a synthesizer via a cable ("Umbilical cord"). "Panta Rhei" ("everything flows") refers to the Greek myth of the Three Fates (Clotho, Lachesis and Atropos). The cable represents the string of life which the performer can not escape. This dependency forces her to react to the sound events with reach her through the cable.

Recording of Jürgen Bräuninger and Ulrich Süsse's Le bass de auf a bourges du dat. It is a work for saxophone, bass clarinet, and electronics. There are speech snippets which are accompanied by free improv from the saxophone and clarinet, while processed and manipulated recording of these instruments play in the background.

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 Frank Corcoran's Tradurre - Tradire. This is a work for electroacoustics that includes German spoken word. It also includes sounds of screaming and whispering.

Recording of Riccardo Dapelo's Zu klugen Gestirnen. For soprano and tape. The work is derived from a picture poetry of Paul Klee. The composer tries to separate elements common to Klee's theory. The starting point is a small sound gesture: an upward exponential function. This function shapes all the steps of the work in a motion from noise to sound. The attempt is to build a self-similar structure with matching between small details and larger forms.

Recording of James Dashow's Media Survival Kit. This work is a lyric satire in three parts for radio. This instruments heard include: harp, contrabass, percussion, cello, and soprano voice. The processed pre-recorded sound were put through synthesis which was done using a MUSIC30 system. The three differing movement are titled: Nico, Crema (Cream), and Tutti Collegati (We're All Connected).

Recording of Peter De Moncey Conegliano's The Mother/In praise of communism. This text in this work was taken from the libretto of The Mother by Berthold Brecht which was itself based on the novel by Maxim Gorky. The composer used rain sticks and porcelain flutes (Pacha Mama) from Mexico to create the sound material.

Recording of Will Eisma's "Le grand silence d'un seul oiseau" ("The great silence of a single bird") for tape. During World War II, a network of 40,000 km of trenches crossed South Flanders and the North of France. Still today, there remains part of these trenches as a long underground tunnel somewhere around Metz and Verdun. The composition represents an imaginary underground journey from Calais to the Swiss border, through the infernal moles, in the gloomy and frightening obscurity of this absurd war. The poem of Ab Van Eyk tells of these horrors: "Someone walks forward, slowly spitting out his lungs, while a bird pass near me, the gas ......... The night shows fiery angels, among the lights of the "no man's land "; until the twilight silence arrives, the great silence of a only bird, just before sunrise raspberry color." The piece was composed and realized in the studio Five Roses in April 1981.

Recording of Martin Rudolf Schwarzenlander-Fischer's "Chacoel (Musik für den frühen Abend)" for tape.

Recording of Martin Rudolf SchwarzenLander-Fischer's "Das unrecht in meinem bad" ("Injustice in my Tub") for tape.

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

Recording of Ruth Glatt's Simmelibärg transfiguration. This work follows the contents of an old popular Swiss folksong, "Guggisberglied". This song tells the story of a mountain which stands as an obstacle between two people in love. The composer has used this folksong and transformed it to explore the idea of what humans and machines have in common.

Recording of Günter Heinz's Berlin views. This work presents the "sound of the city at the end of the century" and arose in connection with the video project Ç Vortex È of Akademie der Künste Berlin.