Recording of Takehisa Kosugi's Catchwave 71.

Recording of Elżbieta Sikora's The waste land, for fixed media. The piece is a journey through time and spaces. The present is mixed with the past, the ordinary with the extraordinary, dream with reality. The work was commissioned by the Experimental Studio of Polish Radio and was realized in October 1979. The text comes from T. Elliot's poem "The Waste Land."

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 Albert Mayr's Relazioni-transformazioni. “Relationships-Transformations” is part of a series of works that are based on the TIME-ASPECTS text and thus start from the same basic hypothesis: highlighting the relationships that come into being between various sound events - or even visual, theatrical – in function of relationships between their organizations in time and subjective transformations - of such events that occur during the operation. This hypothesis is carried on with the use of a very small material, both for recorded and instrumental parts, without any virtuosity, even to avoid masking, with affirmative artisans, the state of erosion of making music today.

Recording of Arrigo Lora-Totino's Trio Prosodico II. Poetry is spoken by Lora-Totino. The music of this piece is found in the "natural melody" of the diction and language.

Recording of Giampaolo Testoni's Glossario II for tape.

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 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 Zoltán Pongrácz's Madrigal for tape. The aim of the composer was to create a madrigal, one of the most aristocratic of the choral genres of the Renaissance, through electronic means. He uses the characteristics of the Italian madrigal as an element of the musical color to create effects of the Gothic choral music. The raw material is based only on the recitation of the sonnet, as well as on sounds sung at various frequencies by the choir. Pongrácz also calls this work a concerto, but not in the traditional understanding of the genre, particularly in the case of the conception and the formal structure; he calls it such because of the contrast between the cymbalum and the spectra of the oscillators. Madrigal was realized at the Studio for Electronic Music of the Hungarian Radio in Budapest.

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 Riccardo Santoboni's Segni dal tempo. This work deals with the taste of the earth of "Salento" in the south of Puglia, Italy. The sound elements included in this work include the rhythm and music of traditional dance and voice while electronic processing is used to modulate.

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 Oeuvre Collective's Il paese della félicita.

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 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 Marco Ligabue's Radiodays. This recording is a "radio" soundscape of some moments from the 20th century.

Recording of Barry Truax's La Sera di Benevento. This work is a soundscape composition based on environmental sounds from the town of Benevento, Italy. These sounds are mixed with the reciting of a lyric poem by the 14th century poet Giovanni Boccaccio. This work was recorded on an 8-track digital tape.

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 Francesco Giomi's Menu. This work is a radiophonic soundscape of the "kitchen". It includes three different types of sound: keynotes (background sounds from the kitchen), sound signals (sound and gestures in the foreground), and markers (specific sounds which have a specific meaning for people who work in the environment). The structure is outlined by spoken phrases taken from the real menu of the restaurant.

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 Johannes Goebel's Après les grands tours. This piece is a reference to tours that have crossed the Alps with the use of walking sounds and spoken word taken from "Germania" by P. Cornelius Tacitus.

Recording of Jarmo Sermilä's Il mondo assurdo del signor B. For voice, electronics, strings, and percussion.

Recording of Andréa Libretti's Even event - Odd event. This is a work for electronics that includes various vocalizations.

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).