Recording of Joaquín Orellana's "Imagones d'une histoire en redondo (imposible a la equis)" for tape.

Recording of Ricardo Mandolini's Poema Reiterado using the voice of Leonardo Martinez reciting Mandolini's own poem "Palabras" in an electro-acoustic composition. All sound material are disengaged from the speech of the spoken text (Sprachkomposition) which embodies the idea of the ancient synthesis between text and music. Realized at the Studio of the Musikhochschule in Cologne, Germany in 1983.

Recording of Jon Appleton Sones de sanblas.

Recording of Beatriz Ferreyra's "Echos" with vocals by Mercedes Cornu. The piece was made from the "destructuration" of four Latin American songs: two Argentinian and two Brazilian. Cornu uses a variety of vocal sounds (long and short sounds, breaths, coughs, etc.).

Recording of Ivan Pequeño's Ahora.

Recording of Carlos Fariñas' and Sergio Barroso's Corales poema sonoro. This piece is excerpted from a show, "Dialogues," for band, instruments, images, and the public performed with Sergio Barroso in 1971. The sound poem is based on a montage of Cuban poems, which goes from a poetic enumeration of Cuban plants and trees to quotes from Macbeth and fragments of the Campaign Journal and other political narratives of José Martí (revolutionary, poet, founder of the Cuban Revolutionary Party, ideologist, pioneer of Latin strategic anti-imperialist thinking) written on the eve of his fall, fighting. Texts read, transformed concretely and electronically.

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 Ivan Pequeño's Y removiren con sus alas el tiempo estancado.

Recording of Joaquin Orellana's Malebolge.

Recording of Mesias Maiguashca's Ayayayaya.

Recording of Gerardo Gandini's Los Proverbios. It contains the sounds of human voices only in a fairly simple and straightforward structure. The piece was the composer's first purely electroacoustic composition.

Recording of Antonio Mastrogiovanni's Cuauhtémoc. The work "Cuauhtémoc" is dedicated to this young Aztec king, who defended the city of Mexico against the Spanish conquerors commanded by Hernan Cortes. During the siege of this city, nine-tenths of the Aztec population was exterminated, and Cuauhtémoc himself was tortured and assassinated by Hernan Cortes. Three fragments of indigenous texts are used in the work: The first text is the one recited on the occasion of the birth of a Mexican child, and is mixed with the name Cuauhtemoc. The second text is a description of the Spanish army. The third text is a description of the city of Mexico after the cruel siege.

Recording of Joaquin Orellana Mejia's "Impossible a la x" ("Impossible to the X"). The piece raises the sonorous vision of a spiritual and violent situation, in which the primitive flows and their purity as a mimetic being and the "being children: are involved in clearly antithetical situations.

Recording of Sergio Barroso's Yantra, le chili a son apocalypse.

Recording of Eduardo Bértola's Tramos for tape. The piece was made from two sound sources: radio broadcasts and direct recordings of popular events. These materials were structured by simple juxtaposition excluding the mixes and any kind of development of the original sound. It is therefor a purely horizontal structure in which we note the union of fragments of hard edge, perfectly delimited, similar to that used in some works of North American Pop Art. In this way, Bértola expresses his own point of view on the cultural significance and the non-significance of radio mass media in the countries of Latin America.

Recording of Pedro Guajardo's Geodesic Life. This piece is of 6 dancers and one musician. The sound sources for this piece have been sampled from ethnic percussion instruments and voices, one feminine, and the other from a two year old child. All the sequences are repeated 13 times and the the tempo also increases 13 times. The dancers explore hitting sound sculptures on a geodesic done that is amplified. The musician playing a MIDI wind controller, while the tape plays back recorded acoustic sound.

Recording of José Halac's India vieja que pretebde volverse joven Tomando sangre de condor. The India vieja (old Indian woman) sings the Baguala, (traditional folk song from the West North of Argentina) expressing her wish to become young by means of drinking the blood of the Condor (immense and majestic bird from that area), in order to be able to enjoy sex and life once again. This beautiful and magical idea inspired me to create this piece. Originally she says the text first beating her "Caja" (Indian snare drum) and then she sings the same text also using her caja. Before I decided that my input would be "in between" the spoken and the sung sections, imposing the idea of getting old all along the piece, using the speed of the words and the stretching of the voices to reflect the idea. The result is at the same time mystical and depicting age, so that there is still a chance of going back in time, of becoming young again even with the strong and irrevocable reality imposed by myself. Both the beginning spoken section of the Indian and the last sung section, have been stretch to give a sensation of …

Recording of Guillermo Pozzati's Stanford (a mi parde). This piece uses traditional electronic techniques while incorporating orchestral instruments and samples. The software used are common Lisp music (CLM) and common music (CM), which are being processed through a next machine.

Recording of José Sosaya Wekselman's Alturas, Fuego, Granizo… This work has many sine tones creating harmonies, voice giving dialogue, along with electronically created sounds which add texture and gesture.

Recording of Stefano Scarani's Oquedades. This video is accompanied by audio that deals with poetic texts through electroacoustic processing. The visuals of the video include the imagery of a naked woman as well as the face of the woman speaking. There are also visuals of sea life that are shown throughout as well as bookending the video as a whole.

Recording of María Inmaculada Cárdenas Serván's Praia das catetrais. This work premiered in Madrid within the framework of the "XI International Festival of Electroacoustic Music - Punto de Encuentro". This work is dedicated to the cliffs off of the north coast of Galicia and mixes the sounds of everyday life with clarinet improvisations. The text spoken in this work was done by Guillermo Abraldes, whom the composer thanks for his selfless collaboration.

Recording of Eduardo Pérez Maseda's Take me away. The axis of this work is a text by the Italian writer, Italo Calvino. This text was taken from the novel, "Il barone rampante", and includes both English and Spanish.

Recording of Leopoldo Amigo and Miguel Molina's Mensaje Electroacustico de Navidad de S.M. a la Nacion. This work was created from a voice that belongs to a hypothetical King who is subliminally transmitting a message to the audience on Christmas Eve. It is meant to be broadcast on December 24th to families in front of the television.

Recording of Rubén Hinojosa Chapel and Bérengère de Tarlé's Camello. This work tells an imaginary story by taking elements from real life including the sounds of public transportation in Havana. It is a soundscape of a part of the daily life in Havana. The composer points to the importance of the words in the piece from people speaking and public announcements as it holds symbolism for the Cuban people. This work premiered at the "XIII Festival de La Habana de Música Contemporánea".