Recording of Ugo Merlone's Lossodromica. This work was composed by mapping a three-dimensional dynamical system in sound parameters. A collection of several trajectories is assembled an monotonically combined. All the trajectories can be described as linear maps with a point that has at the same time both expanding and contracting directions.

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 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.

Recording of Jeffrey Hass' Keyed up. For two amplified pianos and digital sound; consisting of three movements. Gadget's tape portion of the movement uses a wide range of modified piano sounds, as well as other timbres suggestive of the subject. Early reflections for two pianos refers to the first sound waves that bounce back from a wall. Loose canons pays homage to the great two-piano composers of the past, including Rachmaninov and Bartok.

Recording of Roger Doyle's Spirit levels. The composer describes the spirit levels as being impossible dreamplaces in an imaginary building inhabited by ghosts, memories and echoes of peoples' lives. In numbers I, II and IV the material is nearly all sequenced using complex samples (e.g. number II is made up almost entirely from clarinet samples). Number III is a mixture of sequencing and granular synthesis and the voice treatment in number I is phase vocoding on a next cube. III runs into IV without a break.

Recording of Elio Martusciello's Movimento quietudine. The acoustic nature of this composition is made up of sounds obtained with the Esterafono, a "self-built" instrument that the composer uses for improvised music concerts. Here he wanted to materialize, in accomplished forms, often evanescent and fleeting sound events. From the irreversibility of time, during instrumental improvisation, to the reversibility of time in "the art of fixed sounds," is born the encounter with the dominant subject of Mario Luzi's poetry: the agonizing opposition of time to eternity. Consisting of six fragments and two variations, or better, seven fragments and a variation, this piece exploits texts by the poet Mario Luzi, sung by Ester Curcio: "Ti invovo per la notte," "All'oscuro di te," "Ma perché parlare di sogni," "Tu sola puoi soccorrermi," "C’è qualcosa da cavare dai sogni," "Non in questa vita in un'altra," "Da qui ti guardo," and "Movimento, quitudine..."

Recording of Vladimir Djambazov's Piano computrato. For Atari STFM and Roland Sound modules. Composed first as computer piece, Piano Computrato transfers the traditional techniques of the prepared piano (Cage) to the digital environment. There, all sound parameters can be processed independently and many additional parameters can be controlled: filter, discrete pitch, sound envelope, panning, effects etc. The composition uses 16 MIDI channels and most of the sounds, including the ones that do not sound very "pianistic" were derived from sampled piano sounds by means of various modulation processes.

Recording of Fabio Cifariello Ciardi's Games. For contrabass and electronics. Looking at sound events in terms of mental images might be useful to grasp a part of the listener knowledge that might stand out clearly during the listening process, even without being directly related with musical parameters. In "Games," I used sounds to explore the abstract concept of game. "Games" is based on sonic organisms that dwell different virtual spaces. The listener is intended as the main player of a metaphorical and surrealistic audio game.

Recording of James Dashow's Media Survival Kit. This work is a lyric satire in three parts for radio. This instruments heard include: harp, contrabass, percussion, cello, and soprano voice. The processed pre-recorded sound were put through synthesis which was done using a MUSIC30 system. The three differing movement are titled: Nico, Crema (Cream), and Tutti Collegati (We're All Connected).

Recording of Serge Bouc's Chevaliers de la table d'onde. The title is a play on words, with "Chevaliers de la table d'onde" meaning "Knights of the wave table" - as compared to "Chevaliers de la table ronde," or "Knights of the round table."

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

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 José R. Sosaya Wekselman's ABS Track sion.

Recording of Roderik de Man's Gramvousa. This piece was commissioned by "Het Trio," and the composer derived the composition's title from a small island featured in a book he was reading at the time ("The Ulysses Voyage" by Tim Severin). The island of Gramvousa is situated at the north-west tip of Crete, which is featured in Homer's Odyssey. The island plays an important role in this epic story, as not only is it the home of Aeolus, the God of Winds, it also is the point of departure for the long and dangerous voyage to Ithaca. The composer notes that he has been at this location, and found it remarkable that on a quiet and clear day, enormous gusts of wind would suddenly erupt and then disappear as unexpectedly as they had come. Roderik de Man draws a parallel between this feeling and the feeling a composer may have when receiving a commission for a new piece: a sense of being sent on a journey of uncertain destination, with many unexpected events possibly taking place during the composition process (especially in the case of working with electronic means). Once the piece has been completed, however, he considers the roles reversed, …

Recording of Nicholas Ford's Lashows.

Recording of Francis Dhomont's Lettre de Sarajevo. The composer dedicates the piece to the victims everywhere, despoiled, immolated, forgotten, with this to say: What else can we say about Sarajevo? Faced with the outbursts of triumphant cynicism, this time I could not content myself with the formal and aesthetic games so dear to the composer. Perhaps this musical narcissism, this elegant withdrawal, this haughty ignorance (misleading, no doubt, but after all…), they now seemed to me quite derisory compared to the daily anguish; and, on the whole, untenable. So I naively wanted to talk about horror and shame. The title arose, obvious: “Letter”, which informs of the extent of the disaster and which, at the same time, launches a cry in the desert of the nations; “Sarajevo”, because this city, among so many others, symbolizes the tragic incoherence of the return to barbarism of our time. Even trivial, how to remain deaf to such provocations? … pessimistic observation that, six years later, the news does not seem ready to deny. Lettre de Sarajevo was produced in 1995-96 in the SYTER studio of the Ina-GRM (Paris, France) and in the composer's personal studio and was premiered on February 22, 1996 as …

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 Yee On Lo's La maquinita de escribir.

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

Recording of Elainie Lillios' Of a single mind?.

Recording of Eric La Casa's Ouroboros 5.

Recording of Cyril Kestellikian's Futur immédiat d'un instant passé.

Recording of Roland Cahen's Gâteau d'anniversaire. Described by the composer as a musical joke made for the 25th anniversary of the Experimental Music Group of Bourges, and noted as the composer's only (recent) attempt at a rock song.