Recording of Beatriz Ferreyra's "Echos" with vocals by Mercedes Cornu. The piece was made from the "destructuration" of four Latin American songs: two Argentinian and two Brazilian. Cornu uses a variety of vocal sounds (long and short sounds, breaths, coughs, etc.).

Recording of Carlos Fariñas' and Sergio Barroso's Corales poema sonoro. This piece is excerpted from a show, "Dialogues," for band, instruments, images, and the public performed with Sergio Barroso in 1971. The sound poem is based on a montage of Cuban poems, which goes from a poetic enumeration of Cuban plants and trees to quotes from Macbeth and fragments of the Campaign Journal and other political narratives of José Martí (revolutionary, poet, founder of the Cuban Revolutionary Party, ideologist, pioneer of Latin strategic anti-imperialist thinking) written on the eve of his fall, fighting. Texts read, transformed concretely and electronically.

Recording of Joaquin Orellana's Malebolge.

Recording of Gerardo Gandini's Los Proverbios. It contains the sounds of human voices only in a fairly simple and straightforward structure. The piece was the composer's first purely electroacoustic composition.

Recording of Antonio Mastrogiovanni's Cuauhtémoc. The work "Cuauhtémoc" is dedicated to this young Aztec king, who defended the city of Mexico against the Spanish conquerors commanded by Hernan Cortes. During the siege of this city, nine-tenths of the Aztec population was exterminated, and Cuauhtémoc himself was tortured and assassinated by Hernan Cortes. Three fragments of indigenous texts are used in the work: The first text is the one recited on the occasion of the birth of a Mexican child, and is mixed with the name Cuauhtemoc. The second text is a description of the Spanish army. The third text is a description of the city of Mexico after the cruel siege.

Recording of Eduardo Bértola's Tramos for tape. The piece was made from two sound sources: radio broadcasts and direct recordings of popular events. These materials were structured by simple juxtaposition excluding the mixes and any kind of development of the original sound. It is therefor a purely horizontal structure in which we note the union of fragments of hard edge, perfectly delimited, similar to that used in some works of North American Pop Art. In this way, Bértola expresses his own point of view on the cultural significance and the non-significance of radio mass media in the countries of Latin America.

Recording of Alcides Lanza's Ekphonesis V. For actress-singer, lights, and electronic music. This work is rooted in the composer's continuing interest with "memories". This piece explores the "library" of memories, reflections, thoughts, and ideas, supposedly encountered if the soloist could enter the composer's brain. During this "tour of the brain," the "tourist" is confronted with the recollections of the composer, plus her own memories.