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 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 Pablo Cetta's ...que me hiciste mal... This piece refers to the fragmentation of 33 famous tangos, which are utilized in the piece. There is a brief dialog between two characters, played by popular tango singers. When these tango are electronically processed they take on a new significance.

Recording of Eduardo Polonio's A-roving. This work begins with a reading of Lord Byson's "So We'll Go No More a Roving" and a story which is spoken in Spanish, about the architecture of Rome. The sounds are both pre-recorded and synthetic; there are nature sounds, sounds from inanimate objects, and synthetically built sounds.

Recording of Roberto Valera's Palmas (Palms). This work is for voice and electronics. This work contains spoken word, electronics, field recordings, and pre-recorded sound. The work has a more mysterious sound environment and differing electronics sounds complementing the speech.

Recording of Ricardo Arias' 94 eleciones. Inspired by the fascination of the fashionable spectacle of biodiversity. Within the tropical forest, psittacine, quickly show their invasion of acoustic space with repetitive and annoying messages. Sound recordings made in the forest and recordings of paid political advertising. The composer was devoted to cutting and assembling in sequence fragments of electoral sound borders and joining mixed unaltered vocalizations of birds and other animals.

Recording of Mario Verandi's Figuras Flamencas. This piece uses sound manipulation which creates a sonic environment using recognizable flamenco sounds, allowing musical flow as a sequence of superimposed and juxtaposed transformations between the two parallel worlds. The intention is to evoke a metaphorical journey through flamenco, which is "corrupted by surreal sonic creatures". The texts from Federico Garcia Lorca and sources materials from Spanish flamenco music and spoken texts Lorca's "Bodas de Sangre".

Recording of Daniel Amadeo Zimbaldo's Cartas desde el Real Hospital de Lunáticos. Work for soprano, flute, violin, violoncello, piano, percussion, and tape. Based on the book "Mrs. Caldwell habla con su hijo" by Camilo José Cela, the work tells the story of a mother who writes letters evoking her own dead son with particular lyricism. This evocation generates rhythms of tension and rest. The dissociation of reality is symbolized by the different timbres of the acoustic instruments; the predominance of an inner life given to fantasy is expressed by the electroacoustic material.

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 Agostino Di Scipio's 5 Piccoli Ritmi. For tape music with computer-processed guitar sounds and voice. This work divided into 5 short section, each announced by Spanish voice. The text being read is from a poem by H. Maturana. The sounds are derived from mixing and processing concrete sounds. The processing techniques includes an interactively operated method of real-time recursive granulation and time-shifting. Feedback controls were utilized, so that amplitude and density of the output sound affect the time shift ratio and the pitch in the algorithms.

Recording of Adolfo Nunez's Zambra 44.1. The piece is a "zapping", i.e. what is heard by a radio listener that jumps back and forth between three different radio programs: a news show, a broadcasting of a contemporary music concert and a pop-music program. The leading thread are several short texts taken from flamenco popular songs as well as flamenco rhythms and sounds like guitar phrases, clapping, heel-clicking, "jaleos" (shouting to encourage dancers and guitar

Recording of Claude Schryer's Marche sonore II (El medio ambiante acustico de Mexico). The composer speaks about the piece as follows: When we walk, with the passage of time we enter an inner rhythm and we pass into another much more receptive and thoughtful state: In Marche sonore I (Le matin du monde), I question the nature of listening and the multiple definitions of sound ecology through recordings of testimonials from friends, colleges and parents on the soundscape. Five years later, having found several answers to these questions, I composed this second radio sound march, El medio ambiente acœstico de México (The soundscape of Mexico), which now directly uses the musicality and poetry of landscapes sounds that I recorded in the fall of 1995 in Mexico City and in the state of Oaxaca. I worked like a photographer who carefully chooses and studies his subject, tries to capture magical moments, develops his images in the studio and composes them into a collection of memories and sensations. El medio ambiente acœstico de México was composed from Marche sonore II, a 50-minute radio work produced for Radio-Canada. El medio ambiente acœstico de México was produced in my studio in March 1996 (radio …

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.

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

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 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 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 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 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 Juan Manuel Marrero's Come la voce della coscienza.

Recording of Cèsar Amiguet Puig's Dimers liquids.

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.