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 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 Agnès Poisson's Elle dormante. This work is inspired by the concept of extreme feelings as well as the limits to emotion.

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.

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 Christian Dergarabedian's Espacio para estar solito.

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 Rose Dodd's Excess Pitch.

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

Recording of Ignacio De Campos' Expassvm. This piece explores the idea between corpuscular sounds and "timbre-harmony" sounds, as well as polyrhythm.

Recording of Mario Verandi's Faces and intensities. This work reveals its beginning and ending only as transient moments, without any sense of rest. Sounds are constantly moving through space, continually multiplying, connecting between diverse gestures. The text was inspired by concepts found in Deleuze and Guattari's A Thousand Plateaux. The main sound sources were drops of water and other abstract sounds taken from previous compositions. Since the aim was to work only with abstract sounds, the sounds were extensively processed.

Recording of Amnon Wolman's Falling rocks. This work is a sonic journey from pre-recorded lightly processed sound, to an electronic synthesized melody.

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 Luigi Morleo's Fanes. This recording is a fragment of music from the film "Frammento Orifico" by A. Amoroso d'Aragona, of which the soundtrack in its entirety was composed by Morleo. It includes instrumentation from a pan flute, lyre, and percussion.

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

Recording of Paul Geladi's Feelings and relationships. This work is made from samples including acoustic and electronic instrument improvisations, which have been electronically processed.

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

Recording of Yves Daoust's Fête (3 mvt de Bruits). This is a work for electronics that includes 3 movements: Children's Corner, Nuit, and Fête. This work was commissioned by the Sonic Art Network (Great Britain) in which they asked the composer to create an environmental painting. The dominant element is noise: "smooth" noise, constant noise, and immutable noise made up of the sum of human machines.

Recording of René Uijlenhoet's Filamenti I. The title of this piece refers to the impossibility of creating a steady, sustaining sound on a harpsichord. This work attempts to work through the problematic characteristics of the harpsichord and in doing so the instrument will not be spared. The composition ends with the "tuning and testing" of a new prototype. This piece was written by order of the harpsichord players Annelie de Man and Thora Johansen, with financial support by the Fund for the Creation of Music.

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 Rainer Bürck's Flautando. For flute and computer. Voice-to-Midi interface makes it possible to transform the playing of the performer into Midi data. These Midi data are being processed on four independent layers, then controlled by a sampler. There is a variety of different processing: pitches and velocity, delay, a played note can trigger many other notes etc. Each of the processing parameters can either be exactly determined, or it can be defined as a specific random interval within which the processing will be carried out.

Recording of Mario Verandi's Fréquences de Barcelone. This work is based on recordings made in Barcelona, comprising a wide range of environmental sounds from different locations. The composer's goal was to stage Barcelona's soundscape, to explore and unveil its dramatic potential through interconnected scenes and perspectives. This piece premiered at the Festival Musica in Strasbourg, France.

Recording of Artem Vassiliev's Gestures. The competition between the clarinet and pre-recorded pseudo-orchestral part is the main idea of the piece. The tape part represents different transformations of 'real' sounds of the clarinet as well as their synthesized versions. Rhythmical freedom is most important throughout this piece and a sense of improvisation. The rhythmic durations within each 4" frame may vary from frame to frame. As in conventional space-time notation the position of each note only provides a rough idea of how to place it.

Recording of Eleazar Garzon's Gritos. This piece incorporates several forms of vocalization, synthesized and natural. A northern Argentine folk song is sampled as well as whispers by the composer's wife and daughter. It was also utilized to generate textures.