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 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 Riccardo Dapelo's Zu klugen Gestirnen. For soprano and tape. The work is derived from a picture poetry of Paul Klee. The composer tries to separate elements common to Klee's theory. The starting point is a small sound gesture: an upward exponential function. This function shapes all the steps of the work in a motion from noise to sound. The attempt is to build a self-similar structure with matching between small details and larger forms.

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 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.

Recording of Rose Dodd's Excess Pitch.

Recording of Alessandro Cipriani's Al Nur (La Luce). All the sound material in the piece comes from recording and processing sounds from an Islamic chant titled 'Al Nur', played with Persian percussion and Nej flute. Therefore, all basic material comes from oral tradition and electroacoustic means. The idea is that of creating a new electroacoustic, virtual, ritual space for religious chant. This space is created by processing the same sounds and reintegrating them into the new sound-space.

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

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 David Prior's Hymne an die materie. "An die Materie" was written for dancer/ choreographers R. The piece was inspired by a poem by French Jesuit mystic Pierre Theilhard de Chardin in its German translation. The piece was primarily intended for an anglophone audience, giving the opportunity to use the text for it's complex morphologies. Although inextricable from the recording technologies which made it possible, and in stark contrast to much of my other work, the lines or layers suggested by the multi-track method by which the vocal or instrumental 'performances' were played into the computer.

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.