Recording of Hiroki Takeishi's Les vagues.

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

Recording of Mark Canfield-Taylor's The innocents.

Recording of Daniel Schachter's Intramuros II. The composition "Intramuros II" is a work specifically designed as a live, real time on stage sound construction aimed at being a free flow of sounds controlled live by the composer/performer in concert. This recording was made in real time at the composer's studio. To obtain the real-time, onstage effect, different composing and performing techniques have been considered and applied. The first step, after the sound materials selection, was computer processing, which was done through GRM Tools software running on Macintosh to obtain a group of seven sound objects suitable for the project. Later, at the composer's studio those objects were transformed again through Ensoniq ASR10 sampler. All materials have a special characteristic, they react in different ways when changes on pitch, velocity, or some other MIDI controllers are applied. Then each of the seven sound objects wasplaced on a different MIDI channel into the sampler's memory. The ASR10 sampler was linked to a PC486 compatible computer (8Mb RAM) running Sound Globs 3.0a, which is a specifically designed algorithmic composer software for real time performance. On Sound Globs 3.0a, 17 different textures were programmed, each thought to interact through one or more MIDI channels …

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 Gerald Eckert's Diaphane. Diaphane for 2-track tape was composed in 1995 at the ICEM at the Folkwang-Hochschule. The title (cf. diaphan - diaphanous) is to be understood as a concept. A stratum, which is in itself complex and has been composed using various means, is overlaid by several different strata or expressed as an association: a surface changes its form due to the simultaneous appearance of different-coloured lights refracted by a prism. The result is the overlapping of two different kinds of structures, comparable to the interference of two pieces of film laid over each other. This happens in "Diaphane" at carefully chosen points which, temporally, are uniquely related. This work was composed using various kinds of technology. The "concrete" sound material was achieved using sounds of percussion, speech and machines and was digitally revised using various programs. The sound structure was created with the synthesizer program Csound. Each individual process in the piece is different from the next in that, in some cases, their sound results only appear in fragmentary form. The first rest structure can be taken as an example (2:00 to 2:30). This part, which was actually generated without a rest, was more or less …

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 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 Valentin Lazarov's Coulours in the nature.

Recording of Robert Normandeau's La renard et las rose. "Le renard et la rose" (The Fox and the Rose) is a concert suite composed from two sound sources: the music commissioned for an adaptation for radio of the book The Little Prince by Antoine de Saint-Exupéry (produced by Odile Magnan for Radio Canada in 1994) and whose principal themes are found in it, and the voices of the actors who collaborated in the recording of the radio adaptation. It is the third work in a cycle begun in 1991 (éclats de voix and Spleen [recorded on the album Tangram, empreintes DIGITALes, IMED 9419/20, and IMED 9920] were the first two) and is based exclusively on the use of the voice; more specifically on onomatopoeia, which is the only form in human language that corresponds directly to the designated objects, gestures or feelings as sounds, rather than as the abstract representations that are words. In each of the work's five parts a state or feeling experienced in adulthood is associated with a sonic framework: Babillage et rythme (Babbling and Rhythm), Nostalgie et timbre (Nostalgia and Tone), Colre et dynamique (Anger and Dynamics), Lassitude et espace (Weariness and Space), Sérénité et texture …

Recording of Rainer Bürck's STRINGendo. This composition is based on an idea of combating a perceived prevailing trend of melody instrument solos suffering from "one-dimensionality": a limited ability to superimpose simultaneous layers which could make up complex musical textures. Within this piece, the playing of the performer is transformed into MIDI data. The MIDI data is processed on four independent layers by a computer program written by the composer which then controls a sampler, playing all sorts of sounds and noises previously recorded from the particular instrument. Pitches and velocity values can be transformed, notes can be delayed, a played note can trigger many other notes, etc. Each of the processing parameters can either be exactly determined, or it can be defined as a random interval within which the processing will be carried out. The composer describes the live performance as keeping the piece fresh, while processing - if done on four separate layers - enables the performer to trigger complex musical textures.

Recording of Mikako Mizuno's Musfevic.

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 Natasha Barrett's Puzzle wood. The name of the composition comes from "Puzzle Wood" being the name of a small forest nestled within a Medieval iron-ore mining region in the Southwest of England. Although the wood does not covering an expansive area, locals believe many lost souls wander its confused and ambiguous pathways. An alluring aspect of acousmatic music is its ability to indulge in a multi-faceted and paradoxical listing environment. Here, in the composition, the products of the listener's imagination interact and coexist with the sonic material. As perception gradually discovers deeper levels within the music, new allusions jostle to the front of one's attention. Some tiny fragment of sound may shatter the existing context to reveal an even stronger 'Trompe L'Oeil', or sweep it aside in favor of some personal or emotional reminiscence. The composer aims for a listener to lose oneself within "Puzzle Wood," and repeatedly escape deeper into one's own thoughts and imagination.

Recording of Rose Dodd's Grenzen. This work is for electronics and manipulated pre-recorded sound.

Recording of Elsa Justel's Lailusion. "The Sensible Illusion" is an experimental work based on the illusions of perception, which establishes a parallel between certain visual and auditory perceptual effects through a concrete and plastic language. Objects of different materials were photographed and then processed on the computer. Similarly, sounds produced by these same objects in order to process them later by digital processes. Additive and subtractive synthesis processes were as possible for sound as for color. Processes of mixing, juxtaposition and inversion have been applied to images as well as to sound objects.

Recording of Aldo Brizzi's L'épreuve du labyrinthe. The title of this work is taken from Mircea Eliade's autobiography. The tape consists solely of viola sound superimposed on to rhythmic fragments from Afro-Brazilian music and uses the viola's lower register. Each path is highlighted by enhancing the sounds through different digital filters, which makes it more difficulty to perceive the recurring rhythmic patterns, but the beat remains steady. The solo part consists in a micro-intervallic melody, rhythmically swinging with the tape.

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.

Recording of Jozef Malovec's Memory of Orthogenesis. We feel in this room the inspiration of the ideas of Teilhard de Chardin, the Christian philosopher. We see the composer's interest in the confrontation between new material, processed electronically and fragments of the conventional, the known, the trivial.