Recording of Damian Roskill's The kubrick suite. This is a work for electronics that includes English spoken word and distorted voices.

Recording of Brina Jež-Brezavšček's Orpheus. This is a work for bass clarinet and electronics that includes other instrumentals. It was commissioned by the Zagreb Music Biennial and was performed by multi-instrumentalist, Ratko Vojtek. This composition was based on reminiscences about Orpheus' figure removed from the past and put in a contemporary setting. Despite this, the music still depicts the classic story of Orpheus.

Recording of Yves Daoust's Ouverture. This is a work for electronics.

Recording of José Augusto Mannis' Duorganum II. This work was commissioned by the Biennale Internationale d'Art de São Paulo and was composed for violin, double bass, and live electronics. This piece was written for the show: Puce Muse II (1989) - Espace Musical: Serge de Laubier, Rémi Dury and J. A. Mannis.

Recording of Barry Truax's Beauty and the Beast. This work is for narrator who also plays oboe d'amore and English horn, computer images, and two computer soundtracks. The computer graphic images and text were created by Theo Goldberg. This is a modern retelling of the traditional story of a young girl's voyage of self-discovery through her encounter with the Beast in the enchanted castle. This version of the story is a modern interpretation as suggest by Bruno Bettelheim in his 1976 book The Uses of Enchantment. Beauty and the Beast was commissioned by oboist Lawrence Cherney for the Musical Mondays series of young people's concerts, with the assistance of the Laidlaw Foundation and the Music Section of the Canada Council.

Recording of Richard Dudas' Rhapsody.

The composer writes: "I feel that there is an evocative relationship between oboe and soprano saxophone. The oboe is an instrument with considerable history and has a powerful expressive ability to conjure and invite. The saxophone is a more modern instrument which can connote a sensuous, improvisatory music. In Reflective Image I have addressed this relationship. The oboe begins the piece, inviting the music. Through the course of the work the two instruments investigate their own sound potentials, both of tone and various noise elements. The two merge in complex interweaving, leaving the saxophone to reflect and complete the piece, releasing the music. The relationship of the two instruments is amplified and further explored by the music on tape. The tape consists entirely of sounds generated by the two acoustic instruments. Michael Ericson and Tridib Kumar Pal provided the original material for the oboe and saxophone sounds respectively. By using these instruments as sources for the music on tape a kind of integration is established between and among all of the sounds of the piece. There is an essential aspect of overlap and interaction between the electronic music and the acoustic music. Each of the three instruments develops the elements …

Recording of Claude Jordan's Cithare. Work made up of 3 movements, whose basic material is fragments, samples taken from a traditional instrument frequently used in German-speaking Switzerland: the "Hackbret" or "Citre". Much of the sound processing has been done around transposition and reverse playback bringing an unusually resonant and percussive aspect of the original instrument.

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 Marie Pauline Esguerra's Abmon-Ulan-Alon. The title of this piece (Rain-rain-waves) reflects what is to be perceived as aquatic quality. Water and rain is the majority of sound material used in the piece, primarily in the way gestural sound objects, when iterated and developed in different ways, create larger, textural events, which continually shift the listener's focus.

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.

Recording of Arie Shapria's Upon the Ruin of Ophra. This work uses eight different recorders which sonically consist of old Israelite songs, treated by an analogous technique, using noise gates, a vocoder, and the pitch to voltage of a synthesizer.

Recording of Ipke Starke's Flurstück. The composer denotes "Flurstück" as meaning a piece of countryside, a rural landscape (Flur), which is private property; this is important to a central theme of ownership and its interactions with natural environments vs more "technical" atmospheres. It is described as such: The background of the piece is the dismemberment of the landscape, the subdivided land. From this are born the images. Fields, travel, property, appropriation and expropriation, the battle, fields of march in songs of the consequences. The beautiful atmosphere is disturbed. The notion of ownership must appear in the title: we listen differently when we think of ownership. The composer's interest is in particular in the different silences that were recorded in the countryside in specific favorite places. Added to this are "technical" atmospheres, incidences and "hinges" which oppose natural environments, and which are a reflection and documentation of their confrontation, of the division of the earth. The very precise measurement of the landscape is transmitted to the structuring of the piece by precisely measured durations, unequal, rhythmic, but not insertable into a frame. After the journey through these images of boundaries and fences, and faced with this frustrating experience, the composer notes …

Recording of Lewis Nielson's The hero/the martyr/thefool.

Recording of Patrick Ascione's Espaces - Paradoxes. This work is made up of six movements: Couleur Split; póles inverse; Ecran de fossiles; chansons sphérique; tessons bleu; and damse monochrome. The alternation of spatial imagined situations that oppose each other, respond to or overlap each other; in return, giving meaning and life to the sound form themselves. Thus, a specific form of speech is dependent on the simultaneous and successive perception of all these planes, trajectories and centers of transmission of distinct sounds in the air.

Recording of Marcelle Deschenes' Nous. Electroacoustic composition utilizing various voices (including human and robotic variations of deeper- and higher-pitched voices) in both English and French alongside percussion, electronic noises, and ambient environmental sounds.

Recording of Jean-François Cavro's 3 divertissements numériques (1 franchir le rubicon, 2 fission, 3 mange ta télévision). This work is created with electronics and uses traditional electronic technique. There is present noise elements within this work's texture, which establish a good balance within the orchestration of sound. By working with electronic sound effects and pre-recorded sounds of many qualities or frequencies, balance is found.

Recording of Annette Vande Gorne's Aglavaine ed Selysette. Musique de scène. This work uses traditional electronic technique to manipulate sound and create a eerie soundscape. The use of sound within the space is truly key within this work. The sounds are all around the stereo system and sometimes sound closer and further away.

Recording of Eric Cordier's La Ligne, La Corde. It is for voice, string instruments using contemporary techniques, and electronics.

Recording of Gabriel Jorge Cerini's Cuatronsa, por ella misma. This piece was created and inspired from drawings created by the composer, which were developed by gathering inspirations from abstract sonic landscapes. The work is part of a group of pieces which are called Cuatronsos (two of which are for three instruments and white noise). There are sounds produced by a Kawai K1 synthesizer, which is programmed in a hardware sequencer Kawai Q80.

Recording of Vladimir Djambazov's No contact II. It is dedicated to loneliness and hope in all its forms. This work is a rhythm composition, centered on 13 simple numbers: 1,2,3,5,7,11,13,17,19,23,27,29 and 31. There is both recordings which are processed and manipulated to alter the sound and sound that was synthetically created.

Recording of Roger Doyle's KBBL - The morning show. This is an imaginary radio station broadcasting from the 25th floor of a mile-high futuristic tower of Babel. The composer has collaborated with D.J.D, singers and actors and in his private studio has re-created a parallel universe tower city where people of many cultures live together. The composer played all instruments and engineered and produced the whole thing.

Recording of James Aikman's Fantasy. It is a work for violin and tape. This piece is in five short sections ranging from lyric to bold sounds and there are quarter-tone inflections in the tape part. The violin is sampled and digitally edited which is used tp provide the bulk of the tape dialogue. There is also use of synchronous music with the soloist and the tape. The last instrument and technique is composing a unified free interplay where synchronization is not indented.

Recording of JoAnn Kuchera-Morin's A Walk Through Ezra Pound's Canto 90. This is a single movement work for soprano solo, two sopranos, two altos, and computer generated tape. In the text of the Canto, Pound incorporates Latin, English, Chinese and Greek, in order to describe the visual imagery of the poem which begins with a quote from Richard of St Victor. The computer-generated portion of the work is composed of both synthesized sounds and sampled, processed sounds from a collection of Chinese instruments.