Recording of Andrea Szigetvari's La Coquille et le Clergyman. This is an electroacoustic work that was created to accompany a video of scenes from the silent movie "La Coquille et le Clergyman" by Germain Dulac. The composer attempted to express the inner selves of the characters with the music. The video includes a compilation of scenes from the black and white film, highlighting critical scenes in the movie.

Recording of Frank Corcoran's Quasi una missa. This work is comprised of 4 movements and was composed as a mass. Sound materials for this piece include English and Irish spoken word.

Recording of Guto Caminhoto's Paisagens Londrinenses 2. This piece is the second of a series of compositions based on soundscapes of Londrina city. The sound material uses recorded nature sounds as well as urban soundscapes. These sounds were then processed and synthesized over other sounds.

Recording of Artem Vassiliev's Pre-lute. This work includes improvised performance on a lute and explores various connections between sonic metaphors from different periods in history. It is an attempt to represent time by musical means. The structure of the piece was inspired by Franz Liszt's preludes.

Recording of Artem Vassiliev's Story 1. This is a work for violin and tape that is based on the interplay of a plot and a character as it often can be found in the stories of literature. The title reflects some extra-musical aspects, which mostly affect the structure and dynamic shape of the composition. The composer states that this piece can be performed in a live concert setting where the soloist should play using a clock and watching the time grid in the score.

Recording of Ricardo Mandolini's Las claviculas de Salomon. This work includes sound materials of various origins that are arranged in a form close to 'ABA'. This piece includes sound samples from 3 different pieces by the composer including trumpet and guitar instrumentals. The final section returns to the materials already presented.

Recording of Ricardo Mandolini's El espiritu de la Iluvia. This work moves away from the trend of concrete music by highlighting the origin of sounds and trying to transform the materials as little as possible. A natural narrative is created and evokes the ecological cycle. The main focus of this piece is rain and it's cycle. The sounds of nature as well as Altai throat singing are mixed into the piece in order to create compositional intention.

Recording of Patrick Kosk's Radiatus Sarchophagus. This is a work for electronics and is meant to express small remarks or comments about contusions, repetitions, crossing overs, open minds, etc.

Recording of Yuanlin Chen's Couleur de Pékin. This is a work for electronics.

Recording of Rogelio Sosa's Maquinaria del Ansia. This composition is an attempt to translate into sound the sensations that are felt during a state of anxiety. The challenge was to create a musical discourse starting from a minimal number of elements, in this case only one recording of a stroke on a wood body was used. This sound, through transformation and manipulation, created all material for this piece.

Recording of Rubén Hinojosa Chapel's FX 1050. This piece explores the possibility of electroacoustic music creation with limited means. The entire piece was developed from a sound fragment of a dot matrix printer. It premiered at the "XIV Festival de La Habana de Música Contemporánea" in 1999.

Recording of Pablo Cetta's Como explicar el Rojo. This is a work for alto saxophone and electronic sounds and is divided into three sections. The first and third sections are constructed by structuring pitch in sets that modulate in terms of consonance or dissonance. The central part, in contrast, is developed around slightly tonic sounds or variable pitch sounds. The title of the piece alludes to the question and the answer as well as the difficulty to describe what is perceived by the senses.

Recording of Matthew Burtner's The Winter raven. This recording is a collection of excerpts from a live performance of the opera. This is a large-scale multimedia composition for voice, instrumental ensemble, electronics, dance ensemble, video projection, and theatrical staging. The three act composition metaphorically connects an Inuit creation story, in which the world is created by "Raven" with snow, with the ecological seasonal approach of winter. Each act contains a chamber music piece with video and a "story" involving music, dance, and interactive video. This piece was inspired by the composers home in Alaska and was written as part of his dissertation at Stanford University. It premiered at the University of Virginia in 2003.

Recording of Lennart Westman's Spiritus. This is a work for audio and video and consists of 3 movements: 1. Passacaglia Spiritus, 2. Spiritus Animatus, and 3. Graal Hommage. The work as a whole was inspired by the poetry of the Swedish poet, Gustaf Fröding as well as the music of Bach. All three movements premiered at ICMC2002 in Gothenburg, Sweden. The work consists of synthesized sounds as well as segments performed by a four-part choir with singers from two Stockholm choirs.

Recording of Christian Calon's Time well (la fontaine du temps). This work was commissioned by Ina-GRM with the help of the CAC and premiered at the Maison de Radio France in 2002. This work belongs to both a radio work (z | s) and sound installation (Time Corridor) that act as projects centered on the question of time. This piece is meant to create awareness of time through listening and is segmented into 4 tracks.

Recording of Antonio Ferreira's Ambidecst. This composition is based on rhythmic cells produced using several contrasting concrete and synthetic sound objects. Several episodes are assembled between them in order to create abrupt feelings of running and escaping. This composition was made using Csound, Cecilia and Metasynth and was globally mixed for Ambisonics UHJ stereo compatible. Final mixing and mastering done in Protools LE.

Recording of Roderik de Man's Wait a minute !. This composition was created for the 1999 DVD project "Flash" by the Bifrons Foundation in which composers and visual artists were invited to create audio-visual productions. This work used various electronic sound samples, primarily a stopwatch counting down.

Recording of Adolfo Núñez's Huecograbado. This work was written for B-flat clarinet and tape and was commissioned by Musica-Realta from Milan, Italy. It premiered at the Festival Metaphonia at ScalaTheatre. The composer describes this work was a "trip to the ocean", with the music taking a journey from a very flat land to the sea shore. The composer translates this journey into musical conent by taking the initial sounds and evolving them to create melodic shapes which increasingly become more uneven as the piece goes on.

Recording of Eduardo Miranda's Grain Streams. This work was created for piano, electroacoustics, and live effects and consists of three movements: I. Maelstrom, II. Scintillation, and III. Vanishing Point. This composition explores the tension between the composers musical ego and computer-generated sequences. The composer created a program, CAMUS, to express automata patterns as musical notes, which act as a basis for the electroacoustic sound material.

Recording of João Pedro Oliveira's A Escada Estreita. This is a work for alto flute, bass flute, and tape. The composer states this work and the title relate to a specific moment in his life and describes the process of having to let go of certain wishes and ambitions in order to become a happier person.

Recording of Roderik de Man's Magnetic Fields. This is a work for orchestra and tape and was commissioned by the Fund for the Creation of Music and the NPS. The goal of this piece is to combine instrumental and electronic sounds while utilizing the acoustics of a concert hall. This work premiered at Muziekcentrum Vredenburg in Utrecht.

Recording of Pedro Rebelo's Four More Sho(r)ts. Four short interventions on the fragmentation and disruption of instrumental noise.

Recording of Claude Hermitte's Carapaces. “Found” sound objects, captured in nature or imitated in the studio. “Lost objects” symbols of aggression, exclusion, confinement and withdrawal. “Lost objects” that want to break the shell, seek openness to the world and to others to rediscover childhood, the sensitive listening to sounds and the meaning they can carry.

Recording of Jens Hedman's Mix-up. This work consists of 500 sounds in 500 seconds and is made up of fragments from the composer's favorite music. The raw material comes from music that has shaped the composer's musical language, including pop, jazz, rock, classical, and modern pieces. These fragments have been manipulated so that they cannot be traced to the originals.