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 Pierre Mariétan's Les dits de nobuyo. The composer states: "The "reality show" is that of the sound, of its own story implemented here in the relationship of the voices to each other with the noises captured, all of this inscribed in the silence of the composition. What these sounds, the voices, the story say, is to be interpreted by the listener according to his feelings, the awareness of what he perceives. The reality show does not want to be, like on television, the alibi of a unique and bygone reality. Its conclusion is that of the listener, discovering through the acoustic image that comes to him, not a visual representation of the sound (whatever one does one will never see a sound), but a formal configuration , dimensioned, resulting from the alliance of sound and space."

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 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 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 Joshua Fried's About Howard Johnson/Affirmative. This work uses MIDI in unusual ways. Sound modules become a silent controller of analog gates, and continuous controllers manipulate digital processors in real time. When channel gates are triggered at an even rate, one obtains the well-known strobe effect of slowing down, stopping or even reversing the apparent motion of a rotating object. As trigger cycle and loop cycle move out of phase, bits of sound seem to wander from speaker to speaker through the space. This work also functions as a study for live performances that will process found sound with a combination of selectable algorithms and performer control.

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 Åke Parmerud's Grains of voices. The piece is composed as a continuous flow where thematical ideas and voices are formed. The opening of the piece uses the biblical words of genesis where "darkness" and "light" has been substituted with "silence" and "sound". The second part of the piece has the theme of memories of childhood in the form of lullaby's and children's songs from different country's. The next section carries the theme of prayers through the combination of the provocative poetry of A. Ginsburg, a Hindu evening prayer, a Balinese and a Fijian priest, and finally a New Delhi citizens right demonstration. The last section of the piece is born as a slow transformation from the dramatic to the ritual music.

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 Roberto Doati's Pigra giornata. For solo voice and tape ad libitum. The formal structure is coming from a well-known Billie Holiday song: “Don’t Explain”. Each note of the song becomes a quotation from the same or other songs by Billie Holiday and jazz musicians considered by the singer true human and musical reference points. Computer programs written by the composer are used to transform, both in time and timbre, the songs fragments. The tape (ad libitum) contains a cymbal roll which follows the voice for the whole work.

Recording of Roberto Doati's Testa Arcaica. For electronics and voice. The basic material for digital processing is coming from the recording of "Weep, weep, mine eyes", a 5 voices madrigal by John Wilbye (1574-1638). The different degrees of transformation of the vocal sounds performed by Marianne Pousseur, and the live voice articulation are conceived according to a semantic division of the poem.

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 Bertrand Merlier's O Houenouho. This work is created with electronics, speech recordings, and pre-recorded sound of differing sound environments.