Recording of Rachel MacInturff's Origami Animae. This work was created during a beginning level class in Electroacoustic Media. The students were given pieces of paper and began creating various sounds that came together to make this piece which was diffused in a concert format. The composer gives her thanks to the class and makes a note that she was glad to have recorded the laughing of the students at the end.

Recording of Joshua Fried's Welcome to the Ice Box. The commission asked for a "sound scan of the 20th century." This work abstracts, interrogates and re-contextualizes selected sound bites that are historical and may arouse intense associations, and attempts to uncover great sonic and tonal beauty in them. This work uses samples and differing sound patterns to convey a modern soundscape.

Recording of Hiroki Takeishi's Labyrinth music. For voice, electronics, and pre-recorded audio. This work is for electronics and processed sound.

Recording of Milos Betko's Personal relations. This piece is segmented into 9 parts by the composer: 1. just before, 2. micado of mammoths, 3. speech of birds, 4. celestial threats, 5. song 1, 6. up and down, 7. song 2: "How many times it sings...", 8. emotions, 9. trio. It's comprised of background noise, violin, voices of the composer's friends, etc. The piece seems to be a collection of sounds that the composer relates to his personal life and day to day.

Recording of Larry Austin's Djuro's Tree. Octophonic computer music. Djuro's Tree is centered around a family portrait of three generations. The story is set in a dynamically moving octophonic "family" tree of sound. The sounds of the tree's limbs creaking and rustling were taken from the BBC Sound Effects Library. The creaking limbs are a recording of a squeaking wooden chair. Software and hardware systems used in Birmingham included Sound Designer, SoundHack, Audiosculpt, Csound, and GRM Tools, on a Macintosh computer.

Recording of Johannes S. Sistermanns' Just and thongs. For two voices, house, sink, shower, radio, tv, train, Robert Fripp, keyboard, and telephone signal.

Recording of Richard Dudas' Interlude I from stories to read to your lover.

Recording of Lennart Westman's Sweden. The music of Sweden was composed already in 1997. However, in 1999 the collaboration with the visual artist Gunnar Jutelius was set about which resulted in the intermedial work Sweden is today. It has been performed in the autumn of 1999 at Café Umbra and Fylkingen in Stockholm, Sweden.

Recording of Simon Hall's Jazzthing. Jazzthing attempts to fuse some of the elements of jazz - the rhythmic vitality, the instrumentation, the freer forms of contemporary jazz music - with more abstract soundworlds and developed, highly processed material from the electroacoustic genre. The piece integrates sound objects with clearly identifiable extrinsic links with those that essentially transcend this, as well as, in time-honored jazz tradition, featuring quotations - both musical and vocal, obvious and occluded. During its course, Jazzthing moves from fast-moving, exhilarating textures to reflective, pensive soundworlds to pulsed, driving, rhythms. The sources for this piece, including the musical quotes and a couple of the spoken quotes, were performed by the composer and a number of their musician colleagues who kindly allowed the composer to "pinch" bits of their performances following recording sessions produced for release elsewhere. A couple of the vocal quotes and smallest sound objects come from jazz LPs and sample CDs. Much material has undergone significant transformation, notably by techniques of time manipulation and the cross-synthesis of sounds. Musical quotes include material from Weather Report's Birdland, Herbie Hancock's Cantaloupe Island, and Bob James' Theme from Taxi.

Recording of James Bentley's Bruit.

Recording of Jacob TV's Dialogues. This work is made up of two movements: "Gulf war" and "Talk show". Dialogues uses recording of speech and electronics to created musical gesture and interaction.

Recording of Yasuhiro Otani's The flash of the summer. There is a possibility to explore creativity through Technology using programs which were designed to include one's consciousness. We can feel construction of music and the structure of this work. Program will perform with a lot of technique such as collage, improvisation and realtime electronics. This piece used programs MaxMSP and Supercollider.

Recording of Jon Christopher Nelson's The rain has a slap and a curve. For computer-generated tape, based upon excerpts from Robert Gregory's poem "rain, convenience store, hungry cats". The majority of the sonic material is derived from a recording of the poet reading lines from the poem. The compositions if divided into three main sections, which explore the sonic possibilities of the source material.

Recording of Lou Mallozzi's Aquapolis. The sound material is language and ambient recordings. The text is written in English, and has been translated into German and Venetian Italian. There are aquatic sounds, body sounds, and sounds of physical labor. Conceptually, the piece is based on a fictional trans-historical walk through an aquatic city, loosely based on Venice. The piece is in four sections: Preamble, 2000 Years Ago, 200 Years Ago, and This Year.

Recording of Rose Dodd's Excess Pitch.

Recording of Fredrick L. Malouf's Family Reunion (Remix 1). This work is a "remix" of a recording of the composers family reunion in 1995. There is a range of material from snoring, a game (Mad-Lib), conversation and laughter. There were 22 people at this reunion where the original material is rich with rhythm, sound, music and noise. It wasn’t necessary to do much processing, but rather enhance the source material and enhance the richness within. Very little processing was used, since the material speaks for itself.

Recording of David Kenneth Mason's Sys-Sax for six patches for solo synthophone.

Recording of Emmanuel Madan's Power that in me grows. For voice and electronics. This work uses a powerful spoken words and electronics to further enhance the sonic elements of this work.

Recording of George Budd's Political science. This work is a contribution to the CD compilation "Turntable Solos", curated by Otomo Yoshihide. This was an international survey of the "state of the art" as practiced by a diverse group of artists using only turntables. This composer was chosen to represent Los Angeles.

Recording of Lutz Glandien's Fear of flying. This is a work for electronics that consists of plane sounds and spoken word.

Recording of Rose Dodd's excess pitch. This is a work for electronics.

Recording of Gérard Torres' A l'ouest, Monsieur Wayne. This is a work for electronics that includes excerpts of dialogue from various John Wayne movies.

Recording of Barry Truax's Pendlerdrom. This is a soundscape composition that recreates a commuter's trip home from the Central Train Station in Copenhagen and was made for eight digital soundtracks. This work is available on the Cambridge Street Records CD Islands and the SKRAEP double CD Pendler.

Recording of Per Arvidsson-Bremmers' Drop !. This piece was commissioned by the Swedish National Institute of Public Health. The task was given to different artists to create a work that would shed light on HIV and AIDS.