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".

Recording of David Alarcon's Oublier Pierre. This is a work for electronics.

Recording of Adolfo Nunez's Toda la humanidad habla de troya. This recording is the soundtrack of a video that premiered at the Tabarca Island in the Festival of Contemporary Music of Alicante. It was part of a multimedia show and based on texts by Euripides. The sound materials come from recordings of said text being recited by various actors and philosophers as well as their personal thoughts on it.

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 José Halac's The Breaking Of The Scream. This work was inspired by a folk song from North West Argentina called "Baguala del Tigre" and a poem written by Argentine poet Pablo Anadon called "Seasons of the Tree". The main ideas from both of these works converge into this 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 Bérangère Maximin's Le rituel des poupées cassées.

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 Félipe Santiago Neiro Vega's Nubia. The composer separates this work into three movements that revolve around the psychology of interpersonal relationships. The beginning revolves around the home and uses samples from an active household. The first movement involves the family and the start of a new life while the second showcases marriage. The final movement is friendship and embodies the idea of self-acceptance.

Recording of Jep Nuix's Intervals. This work is separated into 7 movements: 1. L'Inizio, 2. Monòleg, 3. Resonanzen Für Elisabeth, 4. His Master's Voice, 5. Improvisaciò Per A Tubs, 6. Riflessi, 7. Tonightingale. The work has been recorded on solo CD's.

Recording of Victor Hernandez's Naturaleza impura para masas escepticas. This work captures a complex discourse based on the principles of concrete music. The composer used hundreds of microphones and multi-track recording techniques, as well as several hybrid processes to enrich the dialogue throughout the piece.

Recording of Coriun Aharonian's Secas las pilas de todos los timbre. This piece comes from sound documents of different places and times connected one way or another to the composer. With one exception, all pitches have been left un-modified and while there are no electronic sounds, the piece has been composed with a computer using various software programs. The title partially quotes two lines from the lyrics of a well known tango composed by Enrique Santos DiscŽpolo in 1930, and are untranslatable. It makes reference to the idea of a society in which solidarity is scarce or difficult to find. The composer thanks the generous support of the Studio directors Georg Katzer, Georg Morawietz, and Gerd Rische, and the hospitality of the Akademie der KŸnste, Berlin.

Recording of José R. Sosaya Wekselman's Evocations I. This work is made up of various acoustical sounds all attributed to the environment of the composer when creating this piece. This includes family voices, airports, domestic sounds, etc. The composer has meant for these sounds to create their own evolutionary musical structure rather than be heavily manipulated. He thanks the Spanish Ministry of Culture for their grant which helped this piece come to fruition.

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

Recording of Cèsar Amiguet Puig's Dimers liquids.

Recording of Fernando D. Polonuer's Breve reseña sobre los sueños, el vacío y la enfermedad. This composition is described as a program category work. It represents three steps in a painful and unconscious way to self-destruction. The dreams: the perception of loneliness and memories. The emptiness: the wake up, the light, the reflection, the comprehension. The illness: self-destruction, the fight for survival, pain and defeat. This work includes voices which have been recorded in different years. There is a voice singing fragments of a Tango called "Sus ojos se cerraron" and spoken words with thoughts about linguistic texts. Included texts and quoted material are listed by the composer, in English, as follows: "Today, my heart is lonely..." / "This silence is so cruel, is hurting me so..." / (Spoken) " Promises: can't they be true or false? When you say 'I promise!' that is already a promise - even though it might be a lie. Eh, I don't like that one bit!" / (Spoken) "Unreal conditions, I swear..." / "Intertwined tears refuse to come out..." / (Spoken) "The amount of indirect sense that is usually implied is an immediate problem..." / (Spoken) "She says there is a distance between superficial …

Recording of Eduardo Reck Miranda's Requiem per una veu perduda. For mezzo-soprano, recorded electroacoustic and live effects, made up of four movements: Kyrie, Gloria, Sanctus and Benedictus, and Agnus Dei. This composition is an experiment on enlarging the lexicon for a piece heavily rooted in musical tradition. Virtual digital instruments, synthesized singing and manipulation of the inner structure of voice and natural sounds are the means for extending the expressive power of an ecclesiastical musical form.

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 alcides lanza's Voo. The lyrics of this composition are primarily in Portuguese, but the composer specifically chose to play with the source material, basing lyrics on poems which appear in NO OUVIDO DO TEMPO/NO OLVIDO DO TEMPO, a remarkable book of poetry by the Brazilian poet and composer Gil Nuno Vaz. Special acknowledgement is given to the Brazilian poet Raul de Leoni (1895-1926), since Gil Nuno Vaz integrated into his own poems some lines from an unpublished book by de Leoni, No Ouvido do Tempo. As a result, the Portuguese blends into Spanish and Italian intentionally, acting as a catalyst joining the notions of Columbus, Italian explorer, departing from Spain to explore the unknown sea; Columbus, whose writings in Spanish showed strong traces of Portuguese and Italian; and the fact that Portuguese and Spanish are the prevalent languages from Mexico to Tierra del Fuego. In addition, by looking at the text in a kaleidoscopic way, "other" words and sentences, in existing or imaginary languages could be encountered. With all these elements, the composer "tells" the story of the opening up of a new world - struggles and religion as icons on the way to modern civilization. Voo is …

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.

Recording of Antonio Fernandez Ros' Terracota. This piece was realized after taping the conversation between two people in the Veneto region in Italy. Both speaking in Veneto dialect and talk about the meaning of land, tradition and language. This conversation was later edited (with no electronic modification) and together with the edition of other elements, was turned into a dramatic portrait of the protagonists. The secret or clue of this piece lies in the sound and meaning of spoken language. All the other sonic elements act purely as support to what is already contained in the words and expressions used by the protagonists.

Recording of Juan Amenabar's Cantiga en el umbral. For voice, pre-recorded instruments, and electronics.

Recording of Ipke Starke's Die Unsichtbare front. The composer notes the following: The spatial installation of this work was designed and realized for the highest space in the building of the Technical Collections of the city of Dresden. This place just below the dome of the tower with its exceptional view of the city and the nearby radio tower is part of the work. The composition itself consists of 16 minutes of music on magnetic tape, constantly looped, spatialized and broadcast through the 7 loudspeakers configured in the space. The piece is based on modulations of extremely high frequencies, up to the limits of the audible, whose dynamic degree barely reaches the threshold of perception. What is significant vis-à-vis the content of the play is their interruption by documentary material: news in different languages, interviews, recordings of demonstrations, reports and documents from the archives, and synthetically generated or processed sounds of associative character. This confrontation of situational elements with documentary elements generates contradictory tensions in space. The architectural form of this one is also substantial: first of all, the space is presented in a neutral way, not done on purpose for pleasure. The exposed location of the dome provides openness, …

Recording of Åke Parmerud's Grains of voices. The piece is composed as a continuous flow where thematical ideas and voices are formed. The opening of the piece uses the biblical words of genesis where "darkness" and "light" has been substituted with "silence" and "sound". The second part of the piece has the theme of memories of childhood in the form of lullaby's and children's songs from different country's. The next section carries the theme of prayers through the combination of the provocative poetry of A. Ginsburg, a Hindu evening prayer, a Balinese and a Fijian priest, and finally a New Delhi citizens right demonstration. The last section of the piece is born as a slow transformation from the dramatic to the ritual music.