Recording of Scott Adamson's A Scent of lilac drifts the bank of county 282. For electronics and electronic instruments.

Recording of Mathew Adkins' Silent red. This work was written as part of a multimedia performance. For three dancers, three video projections and electroacoustic sound. This work was inspired by the triptych paintings of Francis Bacon. The sound was created from recording of the dancers during improvisation sessions. This current version is a shortened concert version of the original dance presentation.

Recording of Mathew Adkins' Mapping. According to the composer, this work depicts the slow evolution of a landscape and brings the listener through unknown territory as sounds from the real world are transformed. The piece deals with the notion of "beginning" and the perception of objects over time.

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

Recording of Javier Alvarez's On going on. For baritone saxophone and computer/tape. The piece puts forward the idea of ​​"out of sound" by juxtaposing the tempered saxophone played live with the computerized saxophone. The interaction between the two pieces ranges from minute changes in pitch to the clearly audible disagreement between them, especially evident in these sounds played in unison. This creates the evolution, sometimes with a tense atmosphere. This material is contrasted by percussive and rhythmic outbursts which in the context give stable harmonic cues.

Recording of Juan Amenabar's Cantiga en el umbral. For voice, pre-recorded instruments, and electronics.

Recording of Cèsar Amiguet Puig's Dimers liquids.

Recording of Elizabeth Anderson's L'éveil. This piece is the first in a cycle that explores the paradox of opposition in the sense of physical appearance as well as in the psychological reality of mankind. The piece concerns itself with the creation of the universe and its two poles. The idea of contrasts presented in the introduction are then developed on a larger scale throughout the rest of the piece.

Recording of Joseph Lloyd Anderson's Kyai Pranaja. The composer gives thanks to the help of Simon Gray and David Malham, he also thanks Dave for his advice and instruction regarding Ambisonic theory and techniques.

Recording of Linda Antas' Still, Yet, Again.

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.

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 Miguel Azguime's De l'étant qui le nie. The sound material in this piece was taken from a piano solo piece written by the composer years earlier. Some piano sounds have been modulated to create an electroacoustic counterpart.

Recording of Christian Banasik's Wenn die klagestimmen der stadt II.

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 Peter Batchelor's Discourse. For electronics. This piece considers various levels of interaction (discourse) between its resonant and non-resonant source material. A number of different paths (courses) are followed in each section, ranging from the detailed exploration of a single sound-type to a broader investigation of the relationships between several. This discourse is purely musical; the anecdotal is latent, but direct images and meaning remain elusive, and even the whispered voice is incomprehensible throughout.

Recording of Peter Batchelor's Reel. This work uses uillean bagpipe as the main sound source. This piece was composed with a view to capturing the energy and intensity that characterizes the traditional Irish reel. Such an 'upbeat' quality is achieved in this genre not least by the upbeat itself (the anacrusis being essential to its iambic rhythmic structure) and the preparatory gesture that opens the piece thus becomes an important feature throughout.

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 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 James Bentley's Bruit.

Recording of Gary Berger's Im selben Raum. The composer equates this work to the concept of objects in a room with a constant changing of visual angles and lighting to bring new items to the foreground. The idea that for the onlookers nothing remains equal.

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 Michele Biasutti's Tavola VII. For string trio and signal processing. This work is one of a series of pieces called Tavole in which the timbre and dynamic possibilities of the musical instruments were studied. Tavola VII, nicknamed “of the sequences of harmonics”, utilizes the sound possibilities that the string instrument. The aim is to work into the sound, directly modeling the acoustic material.

Recording of Phillippe Blanchard's Un dimanche idéal. This work is a screenplay by Nicolas Fraix, with the composer creating the music. Sound manipulation techniques and vocal processing were used to explore the sonic possibilities of voice and electronics.