Recording of José R. Sosaya Wekselman's ABS Track sion.

Recording of Nicholas Ford's Lashows.

Recording of Anatoly Pereslegin's In the beginning.

Recording of Maurizio Martusciello's L'indicibile sospiro. A piece consisting of breathy audio presented in stereo.

Recording of Elio Martusciello's II vento silenzioso. This work is a soundscape created with electronic sounds and processing.

Recording of Paul Geladi's The Beauty and the Bourges. For electronics and manipulated sound, created using traditional electro-acoustic sound.

Recording of Frank Pecquet's Frissons Acqueux.

Recording of Yasuhiro Takenaka's King and Queen. This work's title is derived from Henry Moore's sculpture and sonically describes the relationship between the saxophone part and the tape in accordance with the King and Queen. The tape part was produced using Dyaxis II.

Recording of Gabriel Jorge Cerini's Parabur. The piece uses the subtitle "Reflexiones sobre la belleza 1995 (Thoughts about beauty 1995)".

Recording of Hiroki Takeishi's Les vagues.

Recording of Arsène Souffriau's Une nuit dans le jardin des Prés Fichaux. Borrows brief material including part of Strauss' horn line excerpt from "Till Eulenspiegels Lustige Streich".

Recording of Alain Basso's La logique du vent. The piece is made essentially from FM synthesis sounds, driven in increasing series by a MIDI program. The resulting collections were then processed to be smoothed and produce a more ethereal feel in the composition.

Recording of Mikako Mizuno's Musfevic.

Recording of Nye Parry's Behold my beautiful eyes.

Recording of Jonas Broberg's Her scent. This short piece was composed for the occasion of the 25th anniversary of the annual festival of Electroacoustic Music in Bourges, where it was also premiered. Some of the sound material was taken from "Locations". The intention was to clad the sounds in new "attire" and put them into different contexts. The piece is dedicated to Ylva Skog.

Recording of Michael Ward-Bergeman's The Beauty of Laughter. "The Beauty of Laughter" is the composer's second CSound composition. It was written to celebrate the 25th annual Bourges' Electroacoustic Music Festival in France. The title was chosen because the composer was fortunate enough to win first prize in the music and humor category of the competition in 1994 with the piece "The Hershe Tube Rundown". "The Beauty of Laughter" was composed by first creating samples of the composer laughing when I was five. These samples were then read into CSound and manipulated in different ways. The composer also designed other Csound instruments for balancing purposes.

Recording of Valentin Lazarov's Coulours in the nature.

Recording of Mihajlo Djordjevic's Ultra minores sonorum diférentas. This piece involves guitar and pitch distortion.

Recording of Francis Dhomont's Convulsive. The composer's note (translated into English from the original French) includes the following: If philosophy still appeals to logic to define the true and to morality to define the good, it seems that it has long since given up giving artists recipes for beauty. So what beauty is it here? Pretty, suave, harmonious? Or even the arbitrary "pleasantness to the ear" recommended by the old Larousse for the musical organization of sounds, a formula which, even today, maintains the misunderstanding about contemporary music? Or rather of the pathetic intensity of these desperate songs which rise from everywhere and which, according to the poet, “are the most beautiful songs”? Perhaps we discern, indeed, in the convulsions of our time, beyond good and evil, a tragic and bitter beauty from which we cannot escape.

Recording of Adolfo Nunez's Chocolate. Chocolate is a musical moment devoted to a single color, a single expression. Since it is intended to be part of a collective work around the theme of beauty, the composer wanted this short piece to be as essential as that known flavor is in the world of cuisine.

Recording of Tom Lopez's A la côte. For electronics. This work uses electronics sounds to create an ambient soundscape.

Recording of Michel Frigon's Les 5000 roses. This moment is part of an impressionist suite for flute, percussion, and tape inspired by St.Exupéry's 'The Little Prince'. This movement evokes the journey of the Little Prince through the sands and rocks to a road that leads to men. Arrived in the middle of a rose garden, he realizes that his rose is no longer unique in the world and lying in the grass, he cried.

Recording of Nicola Sani's Invisible Belleza. For tape in stereo and electronics. Among the most important things that the 20th century bequeathed to us is the invisible beauty of silence, the different silences of Cage, of Nono, of Michaux, who wrote "In my music, there are many silence, above all there is silence." This work is inspired by the words from these influential composers and these sonic discovering from the 20th century.

Recording of Milan Adamciak's Tincanchant. For electronics, manipulated pre-recorded sound, and samples from varying sources. Created using traditional electro-acoustic technique.