Recording of Paul Geladi's 5 Cookie jars and a broomstick. The piece is based on percussive sound. These come from 5 cookie jars and a broken aluminum broomstick found in a garbage container. All the sound were recorded with a SONY ECM 979 stereo microphone.

Recording of Agostino Di Scipio's 5 Piccoli Ritmi. For tape music with computer-processed guitar sounds and voice. This work divided into 5 short section, each announced by Spanish voice. The text being read is from a poem by H. Maturana. The sounds are derived from mixing and processing concrete sounds. The processing techniques includes an interactively operated method of real-time recursive granulation and time-shifting. Feedback controls were utilized, so that amplitude and density of the output sound affect the time shift ratio and the pitch in the algorithms.

Recording of Ioannis Kalantzis' 3b. The composer used the bassoon in a rather post-classical way. The composer also used characteristics, which functions as a point of reference, by replacing a melodic subject with a single minor 3rd interval. Furthermore, the sentimental content that an interval expresses was explored. Such as, a minor 3rd (with a grace note-pattern), while giving different colorings around the content of this interval. The electroacoustic material comes entirely from bassoon sounds.

Recording of Ron Averill's Aes * Aurichalcum * Galmei. For electronics and pre-recorded manipulated sound.

Recording of Frédéric Kahn's Ainsi s'acheva le rêve, ainsi je raconte. Work made for electronics.

Recording of Rajmil Fischman's Alma latina. The composer has this to say on the background of the piece, and of this piece itself: Time is a strange background against which our lives develop. Linearity is usually out of the question and memory cunningly warps and re-invents our past experience to such an extent that the latter becomes alive, threading between past and future. It has been forty years since my personal thread started, more than twenty since I left the birthplace and a long time since my last visit. During all this span - especially after leaving and finding other homes - the conglomeration of conscious and subconscious moments bubbled out, combined with new experiences and created labyrinthine inner passages in which sounds, images, smells and other sensations from different periods mixed and evolved into new forms. Music which was previously dismissed and undervalued suddenly acquired a new significance. Strong images of pain and joy amidst the contrasting richness and poverty of a South American city became representative of a historico-political situation. Taste and scent of food, combined with the physical sensation of dance movement, turned into cornerstones of thought about the essence of human condition. All of these are …

Recording of Bor Turel's Amarcord - Chilhood (l'enfance). This piece is the third movement of the work "Amarcord" that the composer describes as a trilogy of sonorous memories. This work was conceived as a combination of electronic, electroacoustic, and ambient instrumental recordings that were all produced in the years from 1976 to 1996.

Recording of Bor Turel's Amarcord - Dreams (les rêves). This piece is the second movement of the work "Amarcord" that the composer describes as a trilogy of sonorous memories. This work was conceived as a combination of electronic, electroacoustic, and ambient instrumental recordings that were all produced in the years from 1976 to 1996.

Recording of Bor Turel's Amarcord - Golden age (l'age d'or). This piece is the first movement of the work "Amarcord" that the composer describes as a trilogy of sonorous memories. This work was conceived as a combination of electronic, electroacoustic, and ambient instrumental recordings that were all produced in the years from 1976 to 1996.

Recording of Jean-Louis Belmonte's Angel. This work uses traditional electronic techniques to change pre-recorded sounds to create a soundscape. The metallic ring sound is a continuous sound throughout the work, therefore the listener becomes familiar and begins to draw attention to the sounds changing outside of this familiar sound. Yet, there are still moments with the attention is brought back tot he metallic sound and a brand new collection of sounds and environment is introduced.

Recording of Daping Qin's Aniox. A fantasy surrounding the theme of animal voices, Aniox is an exploration of the musique concrete bridge between music and noise. Four animal voices are treated as instruments: sad cock, cheerful dogs, innocent birds and angry lions. The main role is played by the roster. The work falls into two sections. The first section develops from the statement of the rooster's plaintive whine to an innocent birdsong and gradually changes to a deep sigh. After a brief pause, the opening drumbeat recapitulated to lead the same material through rhythmic variation toward the second section's climax, led by the lion's angry howl.

Teodoro Pedro Cromberg's Añoranza de lo Dionisíaco. The title references to the importance of sensorial experience (dionis’aco) in concrete music creation, opposite to the microcomposition in the land of sonora synthesis, that is more rational (apol’neo). In this way, both working modes are contraposed all over the piece, though clearly limited sections with short silences or for the clear identity of different sonorous-musical materials. The last section highlights the characteristic motives of the piece in textual or variegated mode.

Recording of Christopher Rolfe's The answer which the court give you. The two sections here were excerpted from a longer work for piano and tape. The text material is drawn from documentary recordings of oral arguments before the U. S. Supreme Court, and processed by various resonant synthesis techniques (Karplus- Strong, convolution). The piece sonically depicts that public speakers are fundamentally creating music.

Recording of Alessandro Cipriani's Aqua Sapientiae/Angelus Domini. This is the 5.00 short tape version. For electronics, pre-recorded sound, and manipulated voice and Gregorian chant.

Recording of Stephan Dunkelman's Aquaera 1. This work has been separated into 8 tracks that come together in unison to create the piece as a whole, exploring sonic elements from the real world. The work was commissioned by empreintes DIGITALes. The composer gives special thanks to Phil Billen, Annette Vande Gorne, and Marie-Jeanne Wyckmans.

Recording of Luigi Ceccarelli's Aracne. This work is based off of a text by Guido Barbieri and was written as a radio play. This piece was produced and created in Rome at the CRM - Centro Ricerche Musicali and at Edison Studio. It was staged for the first time at the Roman Aquarium in June 1996.

Recording of Alcides Lanza's Arghanum V. Arghanum (Gk. organon), Arabic name for the byzantine organ. The composer, himself originally from Argentina, has based some harmonic, melodic and gestural aspects of the work on a few notes of a very popular Argentinian tango [El Monito, by Julio de Caro]. The work also includes natural sounds sampled via an AKAI S900.

Recording of Christian Zanési's Arkheion, les voix de Pierre Schaeffer. The composer has these remarks on the creation of this piece: In 1996, on the initiative of the Experimental Music Group of Bourges (GMEB), around a hundred composers paid tribute to Pierre Schaeffer. It was on this occasion that I composed a short, outdated waltz, the theme of which is childhood (it is said of Pierre Schaeffer that, when he was a few years old, he would have written a 'treatise on the hoop'). Later, I continued: the railway, the sound object, the single man, relativity in all things to evoke this multiple man who played with all registers and all voices. So many faces which, superimposed, draw a single form. As for Arkheion, the words of Stockhausen (1995) I composed this work from archives (from the Greek, arkheion). Karlheinz Stockhausen was a kind of distant and inaccessible angel, the ideal situation. I had only used one spoken document then. For Pierre Schaeffer, who is closer to me (I took his classes at the conservatory and produced several radio programs with him) I took, here and there, fragments discovered at random in the considerable mass of archives concerning him. With …

Recording of Pavel Kopecký's Autumnal Allegro. Using the sounds formed by different types of sound synthesis – aditive, FM, fractal, etc. creating color vividness and contrast with particular music passages. Connecting effect processors at final modifications made possible to realize the movement and localization of the direction and depth. At close look at the tectonics of the composition reveal any contrasted blocks, which are combined in motifs and which created formally more free imagination form.

Recording of Michel Karsky's En Babel éclatée. Mourning waltzes around Besieged Babels. The man is in the world. And the creator is not exempted from being in the world with the full enjoyment of his faculties of intelligence and sensitivity of intimate and collective memory, echo of history and art. In addition, when he is a musician, the sense of dance works on his sound material until he imprints an irresistible program on him. How can a frail waltz subject become a song of mercy for a wounded humanity? How can an armful of the languages ​​of the earth bear witness suddenly to the history of human life, to their pains and their songs? How is the sensation amplified in the painful exchange in the attentive listener, open to the message of the things of the spirit, the resonance of being as cradled as a child, subjected to madness, wounded by history? With his personal writing, Michel Karsky once again takes up the challenge. His aesthetics of fragment, collage and superimposition, his subtle technique of intertwining themes and sound material, his lyricism of captured sounds, torn voices and his singular breathing produce here, in about thirty minutes, a block of …

Recording of Terje Winther's BE. This work is based on spoken text from Shakespeare and Edgar Allan Poe as well as orchestral sounds written by the composer for a piece made in 1985-86. The composer describes this work as "a piece of transition, of static, and the latent power that lies in the communication between the two".

Recording of Pierre Boeswillwald's Bouclettes. This is a work for electronics that includes various concrete sounds.

Recording of John Levack Drever's Butterfly Lovers. The title represents a traditional Chinese story presented in Cantonese. Sonic material generated from the grain (i.e. internal rhythm and timbre) of the recording of Wing Man Kwok's voice and two passages for flute. The work can be experienced on a phenomenological level with its emphasis on the sonic; equally and mutually it can be approached by the listener from a programmatic perspective (i.e. cinema for the ears).

Recording of Wes Richard Wraggett's By the hair of the temple dog. For viola and tape. In India the mongrel dogs that run wild in the cities and countryside can often be found wandering the grounds of sacred temples. The 'tape' part includes a number of sounds recorded at various locations throughout India. The piece is in four continuous sections: 1: Initiation, 2: Promise of the Purple Gecko, 3: Antenna, 4: Turning/Returning.