Recording of Stefano Giannotti's Megaphono. This work is the composer's interpretation or amplification of the world through the sounds of a broken record, a "Fellinian" trombone playing simple and grotesque melodies, violent loops of fragments, guitars avoiding heavy-metal riffs, small and big loudspeakers everywhere. All these materials are organized into a sort of big concerto. This work seems to lose itself into the "web" of DJ programs, radio waves, jingles, signals from abroad, creating a sort of entranced soundscape.

Recording of Bret Battey's On the presence of water. The program note accompanying this composition goes as follows: The newest of technologies enable us to capture and shape the essence of one of the most ancient forms of revelation: the dream. Dreams can cohere and impact us in a way that reveals us to ourselves. They do so not so much through the specific elements that comprise them but through the dynamic, abstract relationships that arise between those elements. New technologies allow us to shape and relate sight and sound according to the same principle. They can be used to break down the boundaries between disparate media, break away from the conventions of narrative, and shape artworks according to the dynamic forms of our experience. So, too, they can be used break down the boundaries between the conscious mind and the revelations that lie within us waiting to speak. On the Presence of Water is a sound and image meditation on water as a spiritual and psychological archetype. Computer manipulations of found sound and imagery are knit tightly together to express a narrative of the subconscious. No representation is required: the forms of sight and sound speak together map to …

Recording of Jarmo Sermilä's Incubo di orfeo.

Recording of Dieter Kaufmann's Paganihilismo. This name Paganihilismo is derived from this composition being made up of acousmatic variations on three fragments of the Sauret Cadenza from the first concerto for violin and orchestra by Niccolò Paganini, and this material being then played by 512 virtual violinists on 8 tracks in stereo. The violin parts of this recording were played by Elena Denisova. The composer speaks on Paganihilismo as such: A virtuoso piece of music from the 19th century, cut from its musical and social context is transported to the relationships of time and frequencies of today. Paganini had already experimented when he played the soloist part in D-major on a violin tuned a semitone higher while the score is notated in E-flat-major. In "Paganihilismo" it is no longer the orchestra which listens more or less mischievously to the cadence of the soloist - it is the violinist himself in a multiple cloning (up to 512 violinists) who rushes (by the means of dividing a large second or an octave into 8 similar distances or else by an increase/compression by 8) in an artistic madness from which he always returns without injury. In this sense it is a fight against …

Recording of Stefano Scodanibbio's Oltracuidansa. For contrabass and 8 channel tape. Inspiration for this piece came from when Giorgio Agamben's gave the composer the three pages that constitute "La fine del pensiero". The fundamental concepts of this work are: voice, thinking, and language. Tape sounds were produced by the double bass and are a result of 26 differing methods of sound production.

Recording of Paul Koonce's Pins. For electronics, pre-recorded sound, processing, and vocal sounds. Inspired by the action and play of pinball, with its slingshot rebounds, quicksilver movements, and sudden death drains. Pins challenges listeners with a game that banks not on the future but only the next move. The sonic movement and unpredictable sounds are portraying a pin ball machine.

Recording of Klaus Roder's Kristallisation 7. This work uses the well known song 'Greensleeves' played by violin several times in several variations. It is the basis of the piece. New musical structures arose by chosing and putting together small parts from the recordings. By the repetition of this procedure new musical shapes were created. Sound recordings of my family, the kitchen, and synthetic sounds.

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

Recording of Akemi Ishijima's Crossover. This work uses synthesis to create unique synthetic sounds and patterns.

Recording of Natasha Barrett's Little Animals. This work is an acousmatic composition. A forest of small creatures begin to transform and interact with their surrounding environment. Slowly, sound fragments lose their acoustic source-bond to leave the bare essence of their expressive content, and gradually unfold an abstract musical discourse. Flow characteristics, both intrinsic to the sound and freely imposed by the listener's own natural sense of time, gradually unfold, leaving an impression of personal interpretation combined with the feeling of being a passenger, carried through the music.

Recording of Jeffrey Faustman's La femme de nulle part. For electronics, virtual synthetic instruments, and manipulated voice.

Recording of Paul Marcoux's Méditation. For voice and electronics. This work begins with processed drone-like vocals accompanied with electronic sound. This soundscape unravels reaching dense textures full of a wide spectrum of frequencies and sonic characteristics.

Recording of John Levack Drever's Hippocampus. Parts consists of: 1. a mythological sea creature with the forelegs of a horse and the tail of a fish; 2. any marine teleost fish of the genus Hippocampus, having a horse-like head; 3. a structure in the floor of the lateral ventricle of the brain, which in cross section has the shape of a sea horse. It functions as a major neural center for memory, especially that of smell. Hippocampus is a soundscape work built up from a field recording of a public swimming pool. That recording is presented linearly through fluctuating modes of transformation, projecting an intense dreamlike meditation.

Recording of Robert Andrews Mackay's Environs. Environs continues my interest in exploring the musical and structural implications of using recognizable sound sources. Indeed, the piece contains almost exclusively everyday sounds. Using the sounds for their physical connotations as well as for their acoustic properties and musical potential. Each sonic environment has its own environs. Gradually these perimeters are broken down, as sounds occur in increasingly bizarre contexts. During this dialogue, sounds familiar to us are transformed into different material and from one source to another.

Recording of Alexander Gabrys' Printemps mandale 1997. For string instruments and electronics.

Recording of Junghae Lee's Su Nu. The title "Su Nu" takes after "Su Nuraxi", the most largest and the most characteristic of the ruins dating back to Nuragi Period. Stone cyclopean towers together with ancient but sturdy walls make up a typical primeval landscape of Sardegna. The piece titled "Su Nu" is a journey through sounds to Nuraghi era. With sound images, it attempts to portray the everyday life of these pre-historic people and their physical surroundings. The audience is invited to listen and imagine how the events and people's lives unfolded. The sonic materials draw from some vocal and instrumental sounds of Korean traditional music, and also from Viola da Gamba.

Recording of Eugeniusz Rudnik's Martwa natura z ptakiem, zegarem, strzelcem i panna. The sound material of this composition is constituted by concrete sounds of the percussionist type, obtained by a "Synthi" synthesizer.

Recording of Simo Lazarov's Rhythmic Layers and Light. For electronics and synthetic instruments. Lights, hues, layers, illuminations, rhythm, major, mood, a palette of musical instruments, a range of colours, space, light waves, and sound.

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 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 Stephen David Beck's Sarahnade. For electronics. The composer explains how electroacoustic music is meant to enhance and expand a performer's potential for expressiveness, technique and, most importantly, timbre. Inspired by physical and mathematical laws of nature, a beauty of intense complexity bond by simplicity, order and logic; and the use of modern technology seems the perfect tool for expressing that inspiration and awe.

Recording of Marek Zoffaj's Voice. For voice and electronics.

Recording of Scott Wyatt's Private Play (stereo version). For electronics and designed as a gestural soundscape. Although this performance version is in stereo, Private Play was originally designed and realized as a gestural soundscape for an eight-channel sound system. Subwoofer information was recorded within the front channels of the tape in addition to the full audio frequency material and was tapped via aux sends to subwoofers during performance.

Recording of Sergio Kafejian's Entrevales. The main idea of this work is the development of interactions, juxtapositions and derivations of concrete and synthetic material. The piece begins slowly and is permeated gradually by synthetic sounds, constructed from spectral analyses and re-syntheses of previously recorded material. The name of the work was inspired by the linguistic universe created by Joao Guimaraes Rosa, and alludes to the valleys and mountains where the concrete sounds were recorded.