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 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 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 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 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 Francisco Kropfl's Metropolis - Buenos Aires. This piece takes you on a sonic journey through the streets as a sound collage of 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 Juan Blanco's 1789-1989. This piece aims to expose how the French Revolution, through the Declaration of the Rights of Man and of the Citizen, inspired the liberation movements of the people against the oppressive and tyrannical governments. The piece is divided into two parts, which give a sound panorama of the triumph, using electronic and acoustic equipment, the latter taken from songs of the time: "Departure to Place de la Bastille"; "Place and capture of the Bastille", "Lamentation of Louis XVI" and "The Permanent Guillotine", and ends with a few words from the Declaration of 1789, in French.