Recording of Teodoro Pedro Cromberg's Gritos y Gritarras. This is a work for electronics that includes voice and guitar as well as sound samples from Jimi Hendrix, Led Zeppelin, and Deep Purple songs. The composer has attempted to make these songs and motifs recognizable without compromising the independence of the electroacoustic piece itself. The title is a play on words that is untranslatable; "Gritarras" is a made-up word that means something like the cry of the guitar.

Recording of Fernando Pablo Lopez Lezcano's Espresso machine II. This work was created for electric cello (celletto), midi controlled synthesizers, and PadMaster.

Recording of Jonathan Mitchell's Vinyl. Vinyl was composed in 1993. It's a piece of musique concrete constructed using sounds generated by phonograph records. The sounds were processed using various editing techniques and a Buchla 200 series analog synthesizer.

Recording of Pavel Kopecky's The Still Life with Pierot. This is a work of three movements that consist of a chamber sound with a prominent piano solo part. The EA sound acts as accompaniment to the piano and can be recorded live by a microphone.

Recording of Juan Blanco's Cinco Epitafios. This work was recorded in real time with processing and digital synthesis. It is separated into 5 movements.

Recording of Eduardo Reck Miranda's Goma Arábica. This piece consists of music from Xingœ and Boror - Brazilian native tribes, Western orchestral music, and synthesized sounds. The composer credits the orchestral music to the Chamber Group of Scotland. The title of this piece comes from the adhesive properties of gum Arabic and this inspired alchemists to use its name as the Arcanum name of a secret substance for transmutation.

Recording of Simo Lazarov's Cardiofonia. This work is an interactive sound space composition. The Work is based on really cardiographs modulated by sounds. The used sounds from different human emotions. Interactive multitrack version is available by the participation of audience.

Recording of Jônatas Manzolli's Turbulencias. This piece prominently features and plays with thematic material from the composition known as Pomp and Circumstance, which is typically played at graduation ceremonies. There are several small, punctuating gaps of silence in between instances of this thematic material being played and developed.

Recording of Jacek Grudzien's Tritones. Work for amplified harp and tape was inspired by Bulgakov's prose "Mastere and Margueritta".

Recording of Roderik De Man's Dhawa Cendak. For Gamelan orchestra, gongs, and tape. The title Dhawa Cendak means long-short and refers to the characteristics of the sound of the bronze gamelan instruments such as saron, gender and bonang. The electronic part consists of 6 tape parts and was for the greater part created from samples of these instruments. By manipulating these sound electronically, short sounds were transformed into long ones and vice versa. The conductor plays the tamburin, a small drum with a very tight skin (this instrument originates from Latin music) and functions as a signal to to mark a new episode.

Recording of Luigi Ceccarelli's Neuromante. For alto sax, tape, and pre-recorded saxophone samples. This work is to be found in considers creative possibilities which can occur when a direct confrontation is set up between a live performer and computer performance. Almost all of the individual sounds were sampled separately in order to allow for complete control in freely reconstructing, using digital editing, authentic sounding melodic figures and rhythmic articulation. The samples were grouped into five timbral categories: key clicks, slap tongues, staccatos, tremolos, repeated notes and multiphonics.

Recording of Barry Truax's Sequence of later heaven. For four or eight digital soundtracks. The work is entirely based on musical instruments found in Pacific Rim cultures, including the Javanese gamelan gongs, the Philippine patangok, the khaen from South-East Asia, the Korean kayageum, the Chinese guzheng and tam-tam, Japanese meditation bells, bamboo brushes, the rosewood keyed marimba from Central America, the Peruvian bombo and box drum, and the Chilean rainstick. These sounds are mixed together to form chords whose complex resonances become more apparent when the sounds are stretched in time.

Recording of Jean-Louis Poliart's Les amants tragiques de Sarajevo. The composer was tragically inspired by the war in Sarajevo, specifically the banality in the news coverage of the "tragic lovers of Sarajevo". The composer describes this work as programmatic music with death creeping into the soundtrack along with warrior sounds and moments of sweetness, meditation, and ending with a funeral march.

Recording of Robert Normendeau's Spleen. This work is made up of voice of four adolescents. The title refers to the mood of sudden melancholy which surfaces for no apparent reason. This work is a sequel to a previous piece, Éclats de voix, which utilized dozens of sounds from the Dictionnaire des bruits by Jean-Claude Trait and Yvon Dulude as a sonorous base. The piece is divided into five sections: 1. Music and Rhythm; 2. Melancholy and Timbre; 3. Anger and Dynamics; 4. Frustration and Space; 5. Frenzy and Texture.

Recording of Jose Halac's Ball sincretismo 4. For trombone and computer. The composer says this about his work: "It reveals the direction of your searching's in order to define your music: "to compose with the attitude of an improviser and to improvise with the attitude of a composer". It is not clear here what is composed and what is improvised, but this is precisely what makes this work charming. I find, more important, a taste for sound; and, more important yet, a taste for form."

Recording of Ron Averill's Gdod kreasi baru. For electronics.

Recording of Frances White's Winter Aconites. For chamber ensemble and tape. The winter aconite is a species of flowering bulb (Eranthis hyemalis). Its small, yellow, buttercup-like flowers are among the very first to appear each year ; in the northeastern United States it can bloom as early as February, while there is still snow on the ground. Like so many of the little early bulbs, winter aconites will naturalize - they will propagate themselves and form large colonies. This piece was commissioned for John Cage.

Recording of YeeOn Lo's Times past and sweet. For pre-recorded manipulated flute and electronics.

Recording of Vincent Laubeuf's Diogène le cynique. This work is for electronics in stereo and written in four movements. While also being a homage to Diogenes the Cynic or Diogenes of Sinope, who was a Greek philosopher and a founder of Cynic philosophy.

Recording of Daniel Almada Abrazos. For cello, double bass, and electronics.

Recording of Gabriel Jorge Cerini's Caruso, rompiendo las aranas. This work is intended to emulate a phrase which was translated to a sound so high and full of resonance (produced by) Caruso (opera singer) that can broke the chandeliers of a great Opera Theater. The intersection between these two different "feelings" were the core of the composer's composition. The sound were produced by a synthesizer Kawai k1 and programed in a hardware sequencer Kawai Q 80.

Recording of Pierre Sainte-Marie's Kayou.

Recording of Jonas Broberg's Buccharelli's Lamento. The piece was composed in December '92 and January '93 at E.M.S. in Stockholm. The sound material was generated on a Serge Modular analogue synthesizer. The work is based upon the idea of stopping for a moment in the bustle of everyday life, taking a break to find space for contemplation. Soon, however, distractions and shifting impressions from the opening of the composition reappear. Although the material was generated electronically, the spirit of the piece is closer to Musique Concréte. "Buccharelli's Lamento" was premiered at a concert of Swedish Electroacoustic music at Florida International University in February 1993.

Recording of Roberto Valera's Périoda Espacial. Périoda Espacial (Spatial Period) is a continuous timbre space where 4 voices play similar musical material, but with different tempi. The tempo, in permanent development, with different timbres, successions, changes and the superimposition of voices, creates a musical fresco, a complex matter of a polyphonic structure in motion. All sounds in the room are fully synthetic (FM) and were made with a Yamaha DXI II FD synthesizer. Périoda Espacial is a work of meditative genre, with a continuous conception of time and a constant counterpoint of timbre atmosphere.