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 Carl Bergstrøm-Nielsen's "11 september." The text is from a document called "What is MIR?" which was sent out illegally in Chile in 1974 and from the appeal of MIR two years after the taking over by the junta, on September 11, 1975. A left-wing party, MIR stayed in Chile in order to contribute as efficiently as possible to the building of the opposition. Other sound material also includes sounds from a typewriter and a demonstration at Bastad, Sweden in September 1975 at a tennis match between Sweden and Chile with more than 4,000 participants. The text is taken in small excerpts from the document in Spanish, English, Swedish, Danish, French, Dutch, and Icelandic. The piece consists of three sections overlapping each other gradually, which shows the relationship between the spoken words and the immediate danger connected with that text. The first section "as a spontaneous statement," deals with the document at its direct background: the silence is broken, in spite of the danger connected with the writing, manifolding papers that criticize the politics and methods of the junta and discuss the strategy of the opposition. The second section deals with the document as a medium of discussion. At …

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 Coriún Aharonián's Que, spoken text performed by Armando Halty. All of the sound material, besides the spoken text, is electronically generated sounds. It was composed between July and October 1969 and was realized in the Laboratorio de Moesica Electronica of the Centro Latinoamericano de Altos Estudios Musicales of the Instituto Torcuato Di Tella in Buenos Aires.

Recording of Jon Appleton's Hommage à Milanés. This short work of 5:OO is based on a phrase from a song "si el poeta eres tu ..." composed and sung by the great Cuban artist Pablo Milanés. This sentence appears in the middle of the work. The text is used with different reciters and with the original musical arrangements that convey in a variety of time and places that this song evokes to the composer. This work also suggests various political interpretations, none of which are desired by the composer. This music uses the voice of Marysa Navarro and Perico Irazoqui.

"Chicharra's" is an ode to the Spanish landscape and the men populating this landscape. Sounds of nature such as the breath of the wind, the rushing of the rain, the rustling of the sea carry life in themselves. Thus the rustling of "Chicharra's", the cicadas, their singing narrative was recorded as a set of precious voices. These voices were sent electronically to the strings and then turned into new sounds. This process is comparable to that of instrumental music where the violin bow is coated with coniferous resin to awaken sounds. Thus the buzzing of the fly on my microphone has been transformed into a kind of huge chorus of men. With the poet Schierbeek, I exchanged the Spanish landscapes that we saw and listened to. From there, the poems are born. Poems with the subject of the little donkey, famous because irreplaceable, men work the earth, the thirst, the red earth, the dark wine, the family life and the evenings of Spain. It is the beautiful voice of Lino Calle de Segovia that I chose as an interpreter and it is by kissing the glance, in memory, the mountains of Gadarama that I consider "Chicharra's" as a tribute to …

Recording of Alcides Lanza's Un Mundo Imaginario, for choir, with electronic and computer sounds. The text is taken from ekphonesis V [1979], from Alcides lanza's Trilogy. The bilingual aspects of the text has been preserved. By means of syllabic and phonemic fragmentation - both in the studio for the creation of the tape part, and in the writing for the choir. The sounds on tape bring certain vocal qualities into focus and extend the choral material. The instruments used for the production of the tape were Sennheisser MD421 microphopnes, Revox A77 and DAT tape recorders, Akai S900 sampler, Macintosh SE computer with Sound Designer, plus Lexicon and Yamaha special effects units. The tape was realized at the SHELAN Studios and finalized at the EMS, McGill University. Premiered by Iwan Edwards and the McGill Concert Choir at Pollack Hall, November 16, 1989. Written at the request of choir conductor Iwan Edwards and dedicated to him.

Recording of Pedro Guajardo's, Voces de le Electricidad. Originally conceived for a dance performance with the subtitle "lesvos" as the island in Greece. The sound source in this piece is mostly a classical guitar played in different ways and manipulated in the studio, and a feminine voice reciting a poem. The composer's goal in this work is to be able to hear the music within the music, a line or layer that comes out in magic voices from transforming and filtering the acoustic material through Buchla components.

Recording of Julio D'Escrivan's Sin medida. This piece is a setting of three poems by Luis Perez Oramas. The poems are written in a conversational style which reflects on the themes of life and death. The material used comprises sounds of guitars, voices, wind instruments, and pure synthetic tones.

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 …