Recording of Elizabeth Anderson's Mimoyecques. The piece consists of two sets of recordings and electronics. One set of recordings would be made in and around the fortress and would serve as the base where the imprisonment, death, and transfiguration themes would be built. The second recording is in the languages of the 18 nationalities of the laborers. The central section of the work illustrates the idea of terror freedom is suddenly, inexplicably removed. The final section explores the concept of the departure of the souls of the victims.

Recording of Nicola Bernardini's Recordare. The text in this work was written by the composer's father in which he reflects on the shock he felt at the situation in Bosnia. The composer hoped to create a comment on a complex issue without losing the impact of the event in question.

Recording of Paolo Besagno's In primo vere. This work is a short celebration of spring that the composer dedicates to their two daughters, whose voices are used as main sound material in the work. The text in the work comes from a nursery rhyme that was taught to the composer as a child and the voices of his daughters represent the true voice of spring. The composer gives thanks to Riccardo Dapelo for his friendship and collaboration.

Recording of Paolo Besagno's Normalmente, due. This work is an homage to Mr. Jacquard and his loom. The score was written with rows and columns in order to maintain the concept of the loom. The composer describes this piece as "a word game".

Recording of Francesco Boschetto's Your heart is a red train. The concrete material is prevalent as the main sound source and it is derived from life in the city of Stockholm. It is based on three poems, mainly on "Ditt Hjarta Ar Ett Rott Tag", by the Swedish writer Rold Aggestam and on two sonnets by Lorenzo "il Magnifico". The composer's personal experience seeps troughout the course of the piece: the sound of trains, people in subway stations and streets, solitude in the crowd; it is an itinerary in the everyday routes in a foreign town and the elapsing of wintertime scanned by a faint light.

Recording of Elizabeth Mara Bossero's Anticlèa. This work was inspired by the meeting of Odysseus with his mother, Anticla, in 'Hades', book XI of the Odyssey.

Recording of Mauro Cardi's Altrove con il suo nome. The text in this work is sampled from "Oggetto d'amore" by Pasquale Panella and the theatric content of the text is reflected in the recording. The sound materials used in the tape is primarily made up of samples from the actress' voice. The piece premiered in Rome in December, 2000 and again in 2001 as part of a larger project.

Recording of Luigi Ceccarelli's "Abominable A" for magnetic tape. The piece includes the voices of Kadigia Bove, Francesca Furlanetto, Eugenio Giordani, Luciano Martinis, Michela Mollia, Achille Perilli, Marina Poggi, Enrico Pulsoni, Giovanni Puma, Kerstin Riemer, Claudio Rufa, Stefano Scodanibbio, Gaetano Trusso, and Catherine Verwilgen. The piece contains a recitation of all the words in the Italian vocabulary that begin with the letter A, read in sequence from voices with different stamps, rhythms, and intonations. To these are added other sequences in French, German, and English. The work is divided into fifteen sections, each of which has a different criterion for processing the timbre, rhythm, and space. It was realized at the Electronic Laboratory for Experimental Music at the Conservatory "G. Rossini" in Pesaro from 1978 to 1980.

Recording of Luigi Ceccarelli's Aracne. This work is based off of a text by Guido Barbieri and was written as a radio play. This piece was produced and created in Rome at the CRM - Centro Ricerche Musicali and at Edison Studio. It was staged for the first time at the Roman Aquarium in June 1996.

Recording of Luigi Ceccarelli's Il Contingente Cambia Colore, installation for 4 tape loops with concrète sounds.

Recording of Luigi Ceccarelli's Dall'alto. This is an electroacoustic work that includes Italian spoken word that describes the act of floating above the world in observation of the land and sea below.

Recording of Luigi Ceccarelli's Padova tace from "I viaggi in tasca - 20 luoghi mentali". This work is comprised of various sampled sounds and voice, performed by Giovanna Mori. It is based on text written by Valerio Magrelli and was commissioned by RadioRAI. The piece had its first radio broadcast in 1995 through RAI Radiotre.

Recording of Luigi Ceccarelli's Tupac Amaru. The composer describes this work as a musical opera based on a text by Gianni Toti with all vocal parts attributed to the voice of Giovanna Mori. This work was premiered at "Europa Festival" in Ferentino, Italy. The original pre-recorded tape is divided into 8 tracks (ADAT format).

Recording of Fabio Cifariello Ciardi's "Limens Limine." This work is a 4+1 channel piece, with 4 of the channels playing on speakers off the stage and 1 channel played on a loudspeaker on center stage. Composer utilizes pre-recorded voices, percussion, found sounds, and electronics. Premiered in Montreal.

Recording of Diego Dall'Osto's Chiusi nel sogno. The composer writes about this piece as such: These five fragments, essential marks of inner activity, are interpreted and fixed in some of the infinite possible proposals within the ephemeral and utopic musical space. They are divining signs of sounds/sense, participating and singing in an invincible conflict, between understandable shape and an uncontrollable flux. "Chiusi nel sogno intatto di uscirne, chissà come, immuni..." ("Closed in the untouched dream of leaving it, somehow, immune"), a dream like a daily illusion and like useless hope to come out unharmed, safe from the illusion myself. The musical fluency has, then, in the sequence of time a dizzy fugacity and listening will be then the most careful way to get the nuance, sonority, relationships, enigmas, resonances, dizziness and significance.

Recording of Riccardo Dapelo's I suoni che distilli. Derived from the poetry of Eugenio Montale (specifically, "Resta lontano...") and utilizes high voice readings of poetry alongside sung portions in overlapping and edited forms. The text of the poetry was initially read - with only sparse, significant words being sung - by the soprano Daniela Aimale. Like the title "I suoni che distilli" (translated as "the sounds that you distill") explains, the attempt of this composition is to extract the essence, the pure sound of poetic language. This composition utilizes different techniques of processing the human voice including spectral and dynamic granulations, and vocoder; also utilized are mimetic and synthetic sounds, variously interpolated with voice grains (some original Csound instruments for morphing and granular synthesis). To obtain a sensation of movement between foreground/background the piece was developed in different levels, each with its own dynamic grade of reverberation and/or volume, laid one upon the other. The piece is dedicated to Alvise Vidolin.

Recording of Maria Cristina de Amicis' Trasformazioni dell'anima. This is a work for electronics.

Recording of János Decsényi's La fontana malata. This work is the third movement of an electroacoustic poem cycle called "Book of poems". This piece uses a poem by Italian poet, Aldo Palazzeschi.

Recording of Marco Dibeltulu's Microclima II. This work was created as part of the open work "Les Maîtres Sonneurs" for the Synthèse festival. The intent of this work was to combine electroacoustic music with popular music. The title metaphorically represents the island in the center of the Mediterranean and the sound mimics the harsh and wild landscapes of the island with the emerald sea and ancestral music. This has been represented by the Launeddas and by the Canto a Tenore, a typical expression of island vocal polyphony.

Recording of Marco Dibeltulu's Sono una creatura. This work was inspired from a poem by Giuseppe Ungaretti. The sounds of this work come from recited voice and have been manipulated to attempt a smooth transition between music and spoken word. The piece consists of three parts: the first is purely musical, made up of superimposed sound bands, the second imitates the vocal articulation with a "synthetic speech", and finally the third begins with the "granulated" vocal timbre.

Recording of Roberto Doati, Gianantonio Patella, and Daniele Torresan's "La materia è sorda" performed by Lorenzo Rizzato (speaker) and electronically realized by Granziano Tisato.

Recording of Charles Dodge's "Any resemblance is purely coincidental" for tape. The piece aspires to represent the voice of Enrico Caruso in much the same way that Andy Warhol represented the figures of contemporary popular culture in his silk screen portraits: the voice is unmistakably that of Caruso, but with a difference. In "Any resemblance is purely coincidental," an operatic voice searches for an accompaniment: with the original orchestra, with copies of itself, with the piano, and with other computer sounds. The initial attempts are humorous; subsequently, other emotions are evoked until the loneliness of the "great performer" emerges. The voice is made with computer synthesis based on a 1907 recording of the aria "Vesti la giubba" from Ruggiero Leoncavallo's I Pagliacci sung by Enrico Caruso.

Recording of Stefano Giannotti's Giovanni e gli alfabeti. This work is based on the theme of language sound richness and includes various alphabet phonetics from different languages. The main focus of the piece, however, is the singing of Giovanni, who performs a song in his dialect and tells stories about his youth. The piece is available on CD.

Recording of Francesco Giomi's Arrisi.