Recording of Mara Helmuth's Abandoned Lake in Maine. This work's compositional process uses technology to return the listener closer to nature, and into new relationships with nature. The composer's software, instruments, and algorithmic programs were used to create much of the material. The sources for this piece are recorded sounds of the loon in its environment and a naturalist's voice. This work uses field recordings of Maine.

Recording of Jongwoo Yim's Absorption. This work includes instrumental sounds as well as electronic sounds (both from tape and live electronics). The clarinet line is a spotlight and eventually gets pulled into the harmonies of the other parts.

Recording of Anna Elizabeth Hinkle Turner's Affirmation. This work uses pre-recorded sounds and electroacoustic technique to find new sound possibilities. The composer's utilized; ProTools, SoundEdit 16, StudioVision Pro and SoundHack for the generation and mixing of all sound files.

Recording of Jo Thomas' African Violet. For electronics and pre-recorded audio.

Recording of Zlatko Tanodi's Air. This piece was composed for bass clarinet and tape in 1997, and was first performed at the Music Biennale Zagreb festival in 1997 (the soloist for that performance was Ratko Vojtek). The composer's inspiration was the polysemy of the word air (air, atmosphere, area, aria, song with accompaniment). The motto of the whole work is a paraphrase of the concept of “air you were, air you are, and into air you shall return;” sound is treated as a special physical condition of the air needed for acoustic perception, as well as for starting of the resonance of the bass clarinet’s body. While a naked instrument looks for its own expression, offering building material heartlessly exploited by sampling machines, a cause-effect of man and machine appears: it is not possible to distinguish who is who. The acoustic instrument would like to sound like an electronic one, and electronic instruments more faithfully imitate acoustic ones. However, at the end, all these are just vibrations in the air, all is but air. Other association lines are also possible (e.g. building, history, money ways, etc.). This composition has four movements: RespIRAtion, PrepARatIon, Aria and Gone with the Wind. The …

Recording of Germán Toro Perez's Aire. This recording consists of two movements for tape: I. Aliento and II. Humedad. The composer used material from the piece "Stichwörter" by Georg Riedl, which consists of live bass clarinet and electronics. The main interest was to explore the transitions between noisy and harmonic sound.

Recording of Andrew May's Altered in transmission. For percussion and tape.

Recording of David Alarcón's Analysis and fantasy on jumping. For electronics and pre-recorded sound.

Recording of Petri Kuljuntausta's April fool. For electronics and pre-recorded sound.

Recording of Peter Dudak's Ash. Tape music for flute, cello, percussion, and violin.

Recording of Florivaldo Menezes' Atlas folisipelis. This work was written for oboe, English horn, and percussion. This work's sound materials were created by oboe, different countries' skin instruments, and 13 different bagpipes. The piece establishes a sound map of various geographical locations and focuses on the different archetypical elements of civilization. The composer separated the piece into 13 distinct parts that are connected without interruption.

Recording of Elsa Justel's Au lion...bleu. Words, phonemes, vocal gestures are transformed into a musical flow enriched by the colors specific to each of the participating languages. The word disguises itself as an atmosphere; it expresses its essence to merge with the music. Clouds of sighs fly away in a blue space, like fugitive wings rushing towards a distant horizon. The voice becomes matter of an unknown language. However, the sound discourse communicates a meaning to us. Of the lived experience, of the scent and of the sensitive unreality.

Recording of Carlos Gratzer's Ausbruch. This work was commissioned by INA-GRM and produced in their studios in Paris. The piece explores the relationship between sounds of nature and synthesized sounds. The composer modified and distorted the sounds of nature to persuade the listener into forgetting their origin and instead hear them as new material entirely.

Recording of William Kleinsasser's Available instruments. This work is meant to be performed by one piano, one Disklavier piano, and a computer system. The computer music in this piece results from various sound transformational processes applied to recordings of the piano music. The work as a whole explores the intrigue and risk of engaging musical instruments that are on technology's developmental edge.

Recording of Johannes Schutt's Aveugle. This work is divided into two 4-track recordings of separate sound material that come together to create the stereo version.

Recording of Francesco Giomi's Ballu.

Recording of Andrey Dergatchev's Ban (Bahn). Made for electronics and various concrete sounds.

Recording of Guto Caminhoto's Bandejas. The title of this piece comes from the solely sound source used: a group of metal trays (bandejas). The gestural and textural sounds were achieved by using various granulation processes. Bandejas was premiered on 1998 Wave Festival eXstatic Project (Melbourne, Australia).

Recording of Rajmil Fischman's Barren lands. The structure of this work is modelled on the periodicity of surf, consisting of repeated series of waves of increasing size and power. When the most powerful wave is at peak, the cycle begins again. There is one cycle made of three waves which are preceded by an introduction and followed by an epilogue. Each wave begins with the thinnest of sounds, builds towards a climax and, finally, dissolves.

Recording of Artem Vassiliev's The bells of infinity. The musical material of this piece is based on a juxtaposition of several prerecorded sounds including excerpts from Bela Bartok's Concerto for Orchestra, noises of the concert hall before the performance begins and a sound of whispering voice. These sounds have been transformed by using various studio techniques (time stretching, pitch shifting, equalization, dynamic compression, etc.). The expressive function of the bells remains constant throughout the piece in order to represent the idea of an infinite and continuous being.

Recording of Valentin Lazarov's Boou'97. The computerization of sound and its representation as music and timbre dramaturgy underlie this piece. From choral melodiousness to percussion resonance: all these are sound objects mirrored and re-synthesized in various sound directions.

Recording of Josep Oriol Graus Ribas' Borgo 12 am. This work uses both pre-recorded processed sound and electronically built sound. There is moments of ambient textures followed by processed sound. This work explores the possibilities of combining both mediums into one unified piece.

Recording of Allan Schindler's Breath of life. This piece is in remembrance of the first two years of life of the composer's son. The sound sources are from recordings of toys (rattles, shakers, squeakers, a toy piano and the like) highlighting the inherently musical nature of sounds made by infants. Other sound sources were realized by means of synthesis procedures such as Spectral Modeling Synthesis and linear prediction programs to create hybridized sound events. The piece was realized on SGI computer systems and is dedicated to all of the composer's children, each of whom has brought the composer special joys.

Recording of Fumitake Ohnaka's A C 2. All of the sounds within this piece were modulated by A-Life algorithm. The sounds consist of: comb filtered noise, FM synthesis, sine waves, samples humans voice, piano tone, and nature sound. Then, these sounds were re-synthesized using Csound techniques, convolution, granular synthesis, and phase vocoder.