Recording of Jens Hedman's Currents. This work is compromised of 4 movements titled: Traffic, Water, Nature, and City. The work is a musical tribute to the city, Stockholm, and portrays the flows and streams in the city from four different sound perspectives. "Currents" premiered at "Hey Listen", the international sound conference for acoustic ecology arranged by the Swedish Royal Academy of Music.

Recording of Pekka Siren and Agnieszka Waligorska's Dance of Fire. This work is an electroacoustic radio work for solo tape. The work uses sounds of thunder, water, and fire to support drums and stones, The main instruments are voice, and tape.

Recording of Teruyoshi Kamiya's Dance of Stone. This work was inspired by music from the musician Kui in the reign of the legendary Emperor Shun. The composer finds fascination in the Chinese dynasty of which there is no archeological proof of and based this composition on that interest.

Recording of Eric La Casa's Dans le feuillage du lointain, la clameur d'un bruissement. This work is based on sound recordings within L'Indre-et-Loire, a department in the center of France. These recordings were originally taken as part of a radio essay for France Culture. The piece explores topographical sound and going beyond what the ear can identify into what the body senses.

Recording of Claude Hermitte's Dans les étoiles.This work is an homage to those who are grieving loved ones and hope for a better future in the coming years. It's segmented into 5 movements titled: "Exils", "Sonneries de la forêt", "Dans les étoiles", "Les pensées de la terre", and "Trois rayons dorés".

Recording of Serge Bouc's La danse des algues au rythmes de la mer. For tape and electronics. This piece tries to present an idea according to which natural elements could becp,e independent. This would produce effects that could undoubtedly be fascinating, since by nature nothing and no one would allow them to be observed. It therefore seems that what is commonly called the world of silence is the best framework for situating such an attempt.

Recording of Philip Samartzis' Dark Woods. Sparse and quiet interjections of sound make up Dark Woods. Variously panning echoed rumbles, mechanical clatters, metallic clinks, muffled conversations, birdie chirps, a cappella song, wind and waves, iron creaking, harmonica blares, distorted electronics, low power drones, distant footsteps all appear and disappear. The travel usually flows smoothly, some transitions are almost imperceptibly feathered, while others are obvious cuts.

Recording of Gilles Gobeil's Derrière la porte la plus éloignée.... This work was commissioned by Arturo Parra, with the help of the CAC and the composer dedicates the piece to Oscar and Janine Wiggli. It premiered at the 15th Festival international de musique contemporaine de Victoriaville in Quebec. The composer based this piece off of images from a trip to Italy.

Recording of Eduardo Polonio's Devil's Dreams. This works uses synthesis technique to create sound and use electronic processing to explore the sonic possibilities.

Recording of Simon Hall's Dhyana.

Recording of Georg Katzer's Dialog imaginär 6. The composer notes: The "Dialog imaginär 6" (1998) for tenor saxophone and tape continues the series of my imaginary duos (previously: flute, piano, guitar, bass clarinet, accordion) which, thanks to tape, each relate an instrument to itself. What is new about the sixth piece in the cycle is the extensive waiver of recorded saxophone sounds. Actually, it's only the "F sharp" that sounds over and over again at the beginning, from which the sounds move further and further, both in terms of their ambitus and their sonority. Sonic transformations of this tone are increasingly making way for purely electronically generated material. The saxophone part is detailed, but the musical text should not be understood as a last resort. Interpretations are conceivable that take the text as a suggestion, more or less freely, but of course in the sense of what has been thought about, to deal with it.

Recording of Frank Ekeberg's (Dis)integration. For electronics and pre-recorded audio.

Recording of Jean-François Cavro's Discours Croises. The translation of the piece's title is "Crossed Discourse", and it is for tuba-bass in F and electronic device. The tuba evolves in a free, quasi-improvised way, on urban soundscapes collected in Japanese metropolises, such as Tokyo, Kyoto and Osaka. The dialogue between the instrument and the pre-recorded medium is played in the mode of a constant search for mutual imbalance with the tuba having to make its way through the richness of the recorded events, hence this cross-talk.

Recording of Yu-Chung Teseng's Drinking alone under the moon. For clarinet and computer music on tape. Inspired by Li Po's poem in the same title, paints a landscape of a man, the poet, drinking amid the flowers under the bright moonshine. To depict the drinking gesture and movement, a spatial notation, combined with other elements such as pitch bending effect, whispering sounds, and pre-recorded bottle sounds. Computer music material is drawn from the instrument with some electronically generated sounds.

Recording of Patricia E. Martinez's Duelo intenson. This work was made for electronics.

Recording of Frank Ekeberg's Ebb. This work was inspired by the grey and rainy summer in London, 1998 as well as the overall strange and unpredictable seasons in recent years. The composer dedicates the work to those fighting against the exploitation and degradation of the world's natural resources.

Recording of Alexander Gabrys' Eco-Ethno-Polish-Mountains-Music-Spheroid. This work is composed of four parts on acoustic material borrowed from recordings of authentic Polish mountain folklore. Despite a very advanced technical and sound transformation, the nature of folklore is highlighting its dynamic character. The sound developed from: "gajdy" (bagpipes), "krzapoki" (goat bells), shepherd's horn, Polish violin, and by a pseudo instrument composed of a kind of whip used to flagellate horses.

Recording of Michael Heisch's Edison. This work was created by ​​recording the pops and hisses of various shellac records onto DAT.

Recording on Jean-Claude Risset's Elementa. This piece is for 4 track magnetic tape. It was written for the Ministry of Culture for the fiftieth anniversary of "musique concrete" and realized by INA GRM Groupe de recherche musicale. This piece consists of 4 movements: Aqua, Focus, Aer, and Terra. Each movement corresponds to a different element and according to the composer different states of matter as well. The composer intends for each track of magnetic tape to be played in each corner of the room. The composer thanks François Bayle, Daniel Teruggi, and François Donato.

Recording of Ambrose Field's Empty spaces. This work uses traditional electro-acoustic technique to alter sound and create new sonic environments.

Recording of Fabián Esteban Luna's Emulaciones. Emulaciones are created based on the manipulation of several musical parameters under two concepts: predictable behavior and unpredictable behavior. Emulaciones are created entirely by Csound software by means diverse synthesis: FM, additive, FOF, Granular and Karlplus-Strong. This was carried out on a PC 486.

Ensemble performance at the UNT College of Music University Theatre.

Ensemble performance at the UNT College of Music University Theatre.

Ensemble performance at the UNT College of Music University Theatre.