Recording of Rodrigo Cicchelli Velloso's 15° harmonico. For harmonica, piano, and tape. This piece develops a series of variations of the initial piano sequence. Most of the sounds in the electronic part are taken from the samples of the piano itself, but a flute and various percussion instruments have also been used. These sounds have been reworked using different filtering techniques, to impose a harmonic relationship commonality between instrumental and electronic writing.

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 José R. Sosaya Wekselman's ABS Track sion.

Recording of Mia Schmidt's Aï∂a ∂omi. The spoken word, on which the composers short composition for tape "a rose is a rose" is basing, transfers two antithetical messages. The poem "rose is a rose" written by Gertrude Stein is a love- poem. The composer added sentences, taken from newspaper articles discussing the brutality of the pornographic industry. The poem is represented by this overtone-spectrum in form of sinus-tones or slightly modified sinus-tones. The sentences from the newspaper articles are normally spoken.

Recording of Eric Mulard's Les ailes du pamplemousse. For electronics and pre-recorded sound. The composer wrote: "Cinema for the ear , theater of sounds , dramaturgy of sound....! Bouquets of moments of life to hear, seized over the course of real and fictitious wanderings. Combined sound images , telescoped into memory , episodes from the lives of sounds attracting and repelling each other like electrons according to my imagination."

Recording of Florian Mutschler's Ein Aleatorischer Spaziergnag Durch die stadt. This work is a reflection on the urban acoustic universe at the same time as a structuralist work on the laser support and the possibilities offered by the readers: 18'19'' of unprocessed sound recordings of urban universes and silence are divided into 99 tracks. By programming the repeat and random keys of his laser reader, the user-listener will transform it into a random music generator in which "acoustic images" will lose their primary meaning of simple "documents" to become sound objects. of an abstract musical montage.

Recording of Andrea Libretti's Alfa Salpinga. For trumpet and tape. The base material of this piece is the analysis and comparison between the trumpet and vocal spectrums and the creation of new timbre based on the better fusion (or contrast) of these two sounds. It's a journey through the possible mutations of a basical trumpet timbre (Salpinga in Greek) through a vocal timbre.

Recording of Pete Stollery's Altered Images. The aesthetic images which occur in the mind of the listener during the performance of a piece of music and how they relate to the way the music is perceived are the concern of the composer. The placement of sound images in three dimensional space when performing electroacoustic music on tape over a number of loudspeakers and how this imaging relates to the way the music is perceived by the listener is the concern of the sound diffuser. These changes are of course enhanced when the piece is performed over a multi-channel diffusion system.

Recording of Michael Rosas Cobian's Anima (suite n°2).

Recording of Vladimir Nikolayev's Antigue outline. For violin and electronics.

Recording of Jacques Tremblay's Les arborescences du givre. For flute and electronics.

Recording of Teodoro Pedro Cromberg's Arco Voltaico. This is a work for electronics that was created for cellist, Andrea Espinzo. In this piece the cello has been integrated into the electroacoustic mix. Four improvised performances of the cello were taken by the analogical recorder and then used to create different mixtures for the final product.

Recording of Ragnar Grippe's Les arcs boutants. This work used synthetic sound to create a minimal soundscape, along with incorporating traditional electro-acoustic technique to enhance music space and movement.

Recording of Johannes Schmidt-Sistermanns' Auf Blau Zugehen.

Recording of Nicolay Apollyon's Bass Organics. For electronics, processed violin, processed double bass, and live electronics.

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

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 Nye Parry's Behold my beautiful eyes.

Recording of Miao-Wen Wang's Berceuses de 4 saisons. For electronics and pre-recorded sound; which is both processed and unprocessed.

Recording of Frederick L. Malouf's Between the lines. The composer's focus is the combination of three elements – improvisation, electronic sounds, and the fusion of different styles. It is in this spirit that this piece is presented. The technology used in this piece was a Macintosh with Max software (A Graphical Programming Language for MIDI). The sound device is a Kurzweil K2000. The composer was playing a Midi guitar controller. Accompanying are the sounds of the electric cello.

Recording of Erik Peters' Biography. For electronics utilizing traditional electro-acoustic technique. This work is made up of 12 parts: 1. Prologue, 2. Ritournelle I, 3. Entre pre et fils. 4. Ritournelle II, 5. Vue sur la grande vallée, 6. Trios amis, 7. Ritournelle III, 8. Entre un homme et une femme, 9. D'un endroit pas trop loin des cimes des arbes, 10. Ritournelle IV, 11. Antipatio, and 12. Epilogue.

Recording of Luigi Ceccarelli's Birds. For bass clarinet and tape with bass clarinet and bird sounds. As the basis for this piece the composer used tremolos and repeated sounds, played by a bass clarinet with recorded birdsong. All of the sounds were elaborated digitally and edited, without fundamentally changing their natural qualities. "Birds" consists of four sections; the four parts are separated by short solos of elaborated bird song.

Recording of Katharina Klement's Brandung II. 2-channel electroacoustic composition. The base for both pieces is a sonett by F.G. Lorca. Brandung I relates to the first stanza, Brandung II to the second. The connection of music and poetry is associated and not taken in a programmatic way.

Recording of Hans Ulrich Humpert's Candide: Unterwegs - en cheminn en el camino - Away. This piece includes periods of overlapping voices, with voices speaking in French, German, English, and Spanish; sometimes these overlaps consist of two voices in different languages, sometimes more.