Recording of Thomas Gerwin's Le tour du monde en 280 secondes. This is a work for electronics that explores sounds around the world. The composer compares it to the concept of travelling into the future: "a nearly imperceptible floating or gliding from one space to another".

Recording of Manuel Rocha Iturbide's Cantos Rituales. The main idea behind this work was to search for different kinds of field sound recordings based in prayers and ritual singing from all around the world. These recordings were then processed through a computer and combined in order to make this composition. The composer describes this piece as a hymn dedicated to all humankind, where they are seeking a spiritual unity common to all, regardless of their culture and beliefs.

Recording of Robert Normandeau's Eden. This work is based on the music composed for the play "L'Éden cinéma" by Marguerite Duras. The stage and concert music were composed in parallel as part of the same fiction but corresponding to different purposes. Given Duras' music, which was filled with instruction, the composer of this work responded to this by playing continuous music in the room. In the concert version sound elements are added to represent different facets of Duras' life.

Recording of Dirk Stromberg's Gilgamesh. This work was commissioned by Musik Gavleborg. This piece was inspired by the story of Gilgamesh which was written four thousand years ago. The story is considered a heroic epic and includes many adventures and battles. It ends with him finding the fountain of wisdom and asking timeless, philosophical questions.

Recording of Mauro Cardi's Alba. This is a work for electronics, zarb, and spoken word. The composer references the Persian God, Shams Tabrizi, in their description of the piece.

Recording of Natasha Barrett's Angels and devils. This piece is one of two shorter acousmatic works underlying a theatre creation called "Agora". This recording is meant to explore the psychology of good versus evil and includes fragments from an old Norse poem: Volundkvadet.

Recording of Lennart Westman's Globalcom. The title comes from the combination of the words "global communication" and is meant to represent people expressing themselves in a universal acoustic room. This piece is for electronics and includes concrete sounds of violin, voice, percussion, etc.

Recording of Marie-Hélène Bernard's La mousson. This work is meant to represent a Cambodian summer, punctuated by the sounds of rain and children playing outside despite the weather.

Recording of Simo Lazarov's Sing a song. This is a work for electronics and includes singing by a Bulgarian Folk group.

Recording of Steven Naylor's Bitter Orchids. This work was created with the support of the Nova Scotia Arts Council. The sound materials in this piece were recorded in northern Thailand and have been transformed to create a sonic fabric of memory and consciousness.

Recording of Simo Lazarov's Everything is sound. The composer's note simply states: "Everything around is sounds…and has a composer!" This piece utilizes quoted material and samples including J.S. Bach's Toccata and Fugue in D Minor, sung Bulgarian folk music, dog barks, and sweeping orchestral chords.

Recording of Simo Lazarov's Petrounka. This recording is a collection of mixed and modified folk melodies from regions in Bulgaria, encapsulating the atmosphere of Bulgarian villages.

Recording of Pekka Sirén and Agnieszka Waligórska's Chimera in Kosovo. This work represents the suffering of Kosovo refugees during wartime and utilizes radio mediums to further give the impression of the horrors and fears experienced by the victims. The piece uses radio voices and imaginary female cries as well as looped international newscaster voices.

Recording of Miguel Azguime's Comunicacones. The sound materials in this piece come from concrete sounds from a Lisbon port, communication satellites, and texts in more than 30 different languages, as well as synthetic and instrumental sounds. This work was commissioned by the Lisbon World Fair Expo'98 and the concert version premiered at the "Musica em Novembro" festival in Lisbon.

Recording of Federico Schumacher Ratti's Palabras del sur. This work was composed in response to the call for an open work "Le monde devenu Musique l'écoute du siècle". The sound materials in this piece come from instrumentals and vocals from the Kaweskar and Yamana indigenous groups as well as the Mapuche ethnic group and sheds a light on the perspective from the south.

Recording of Frank Corcoran's Quasi una missa. This work is comprised of 4 movements and was composed as a mass. Sound materials for this piece include English and Irish spoken word.

Recording of Henri Heuze's Souvenirs linguistiques II. This work is an homage to the Picard language and culture, which has been slowly disappearing. It includes samples of a woman and her son speaking the language as they both come from Picardy, a region in Northern France.

Recording of Juan Manuel Marrero's Come la voce della coscienza.

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 Richard Loiselle's Toundra. This work is an homage to the Inuit, a Northern Canadian indigenous group, and the hardships that come with living in the tundra. The composer uses recordings of the Inuit's specialized throat-singing called "katajjait" throughout the work.

Recording of Bor Turel's Amarcord - Chilhood (l'enfance). This piece is the third movement of the work "Amarcord" that the composer describes as a trilogy of sonorous memories. This work was conceived as a combination of electronic, electroacoustic, and ambient instrumental recordings that were all produced in the years from 1976 to 1996.

Recording of Igor de Gandarias' La Feria Fantástica. This work was realized at the University of Maryland Electronic Music Studio using a Fairlight Series III station. The sound sources come from live recordings made in 1991 during the celebration of the most important popular feast in Guatemala City, called “Feria de Jocotenago” (Jocotenango’s fair). The feast, dedicated to celebrate the city’s patron anniversary (Virgin of the Assumption), takes place in August every year, enduring the complete month. Its activities contain not only religious ceremonies and processions with their particular musical environment (choirs and processional bands) but folk dances, food, games and entertainment. The recordings include: voices of a children's choir and voices of congregated people singing into the church, Indian speaking voices, snare drum processional patterns and rolls, a popular processional band piece, and a traditional Indian marimba piece which accompanies popular Indian dances during the procession. The sound of rhythmic patterns played on the rattles by the dancers; electronic games, church bells and the little bell of an ice-cream vendor were also recorded at the fair. Other sounds coming from three musical toys, which are usually on sale on these feasts, were recorded in studio.

Recording of Manuel Rocha Iturbide's Moin Mor. In music using concepts or ideas which belong to other domains is something that has been realized by composers for a long time. The central element of sound work is language, which is what characterizes a determinate culture. Language is made out of sound and meaning, out of syntax (rhythm) and out of words (signs) For this work English, Gaelic, and Spanish are used.

Recording of Simo Lazarov's Singing more. The language of this composition is Bulgarian, with vocal audio recorded from the mountains surrounding the Bulgarian region of Sofia serving as the basic sound source of the composition. The composer's goals are to submerge the listener in an atmosphere of Bulgarian folklore, and to attain an associative effect by means of overdubbing and modification of original sound and songs, bearing in mind the wide variety and richness of the Bulgarian folklore and the immense attention it has gained abroad.