Recording of Natasha Barrett's Agora. This work is an installation and a performance involving electroacoustic music, theatre, and the structural use of space. The theatre version of "Agora" is an event where spatial-music is the structural and theatrical driving force. There is one soprano performer but no "acting out". The work extends the aesthetic of the music theatre of Kagel and the consideration of delineated space defined in Oscar Schlemmer's theory of performance.

Recording of Silvia Matheus' Cloy. This work was inspired by the sounds people make that can create judgement from others. The foreground of the composition is the sound of laughter from a woman to bring forward the issues of desire, irony, and female agency to the attention of the listener. The composer took inspiration from the philosophers Aristotle and George Lewis.

Recording of María Inmaculada Cárdenas Serván's Praia das catetrais. This work premiered in Madrid within the framework of the "XI International Festival of Electroacoustic Music - Punto de Encuentro". This work is dedicated to the cliffs off of the north coast of Galicia and mixes the sounds of everyday life with clarinet improvisations. The text spoken in this work was done by Guillermo Abraldes, whom the composer thanks for his selfless collaboration.

Recording of Rubén Hinojosa Chapel's Desde el Jardín del Tiempo. This work was created as an homage to John Lennon and the mark that his music has left on more than a generation of young people. It was created from samples of piano by digital sound editing and processing. It premiered at the "VIII Festival Internacional de Música Electroacústica Primavera en La Habana".

Recording of Bor Turel's Aqua Salutaris auditur part 2. This is a work for electronics that includes water sounds.

Recording of Bor Turel's Aqua Salutaris auditur. This is a work for electronics that includes water sounds.

Recording of John Rimmer's Ancestral Voices. The idea for this composition came from the composers fascination with family history and genealogy, specifically the names of his eight great-grandparents. The composer associated the sounds of eight instruments with each ancestor beginning with New Zealand instruments and moving to other countries around the world. Throughout the work the sound of a women's choir singing the fifth century hymn, Caeli Deus Sanctissime, heightens the sense of ancestry.

Recording of Katharine Norman's (b)contained. This is a work for solo clarinet and digital fixed sound and was commissioned by Jane O'Leary/Concorde for Paul Roe to play at the Galway Arts Festival. The electronic material in this piece was created from an initial recording of the note 'b', played by clarinet, while the actual player doesn't get to play a 'b' until the final section of the piece. The composer states that this sound provides a sonic container for the live performer.

Recording of Daniel Barreiro's Tempora. This composition is a result of research on musical time that includes voice and the percussion of various objects. The voice presents excerpts of texts on musical time and narrative time written by various authors. This piece premiered during the IV Studio de Mœsica at the Instituto de Artes da UNESP in Sao Paulo, Brazil, in October 2001.

Recording of Ricardo Mandolini's Triptico: Oceania, mondo sin angulos; Variaciones sobre juegos de pelota y bola. This work consists of two pieces: "Oceania, mondo sin angulos" and "Variaciones sobre juegos de pelota y bola". The first of which includes highly transformed concrete sounds while alluding to the idea of duality. The second piece draws inspiration from several games whose sounds are known to the public (tennis, ping-pong, pinball machines, etc.).

Recording of Sylvi MacCormac's Eight Directions. This work includes instrumentation from congas, violin, flute, bouzouki, marimba, gong, penny whistle, and bagpipe. The sounds of thunder, rain, and birds are also included and were recorded in Italy.

Recording of Roderik de Man's Sin descanso. This work was composed for Blockflutes and tape and was commissioned by the Amsterdam Fund for Arts on request by Jorge Isaac, to whom the work is dedicated. This piece can be seen as a journey through a landscape which has been formed by Sopranino, Tenor, Basset, and Paetzold Bass. The title of this work, which translates to "without rest", represents Jorge Isaac as a musician who tirelessly searches for new possibilities in the instrumental domain.

Recording of Manuel Rocha Iturbide's Rebicycling. The idea for this work was inspired by the observance of the thousands of bicycles that are used and abandoned within cities, specifically Tokyo, Japan. The composer makes a statement regarding first-world countries and their habit of consuming in excess and throwing things away that would be reused or fixed in less developed countries. This work was originally developed as a sound installation in SURGE gallery but has been converted to something that can be played in a concert setting with a 4-channel system.

Recording of Sibylle Pomorin's The secret of P.P.P.. A major theme in this composers' works has been "the voice" as well as "language" and it's intellectual uses. This piece uses that theme while branching into abstract electroacoustics. The composer created this work with the team from NPS, who made the appropriate equipment available to them. The singing of Dutch soprano, Jannie Pranger, provided the building blocks for this arrangement.

Recording of Frances White's A veil barely seen (for viola and tape). This piece was commissioned by, and is dedicated to, violist Liuh-Wen Ting. It was premiered in New York in April of 2001, at Merkin Hall. This piece was commissioned to be one of five pieces that would represent one of the five Chinese elements; this piece represents water. The sound materials of this piece consist of recordings of water as well as the viola.

Recording of Gabriel Poulard's Version IV ou Temps/Matière. This is a work for electronics and explores the impact of air and silence. The composer references the "Nuraghé" when discussing the presence of the piece.

Recording of Katharina Klement's Beton. This is a sound installation for 10 loudspeakers that includes 13 tracks. The sound material for this work was collected during several visits to building sites where the sounds of tools and working with concrete was unavoidable. The theme of the work is that of 'concrete' and explores acoustically breaking up the already solidified mass.

Recording of Anna Rubin's and Laurie Hollander's Family Stories: Sophie, Sally. This work uses narrative, sampled ambient sounds, and computer-generated music. The narrative tells the story of Anna Rubin's mother, Sophie, Anna being raised by Sally, a surrogate mother, and her journey as an immigrant in Atlanta.

Recording of Yasuhiro Takenaka's Kagula. This work was inspired by "Kagura", a sacred music and dance that is performed as traditional art in parts of Japan. The composer's intent of creating this piece is for the listener to gain a sense of joy or bliss from listening, much like those did who partook in Kagura.

Recording of Simo Lazarov's Petrounka. This recording is a collection of mixed and modified folk melodies from regions in Bulgaria, encapsulating the atmosphere of Bulgarian villages.

Recording of Cyril Kestellikian's Sons Plaisir. The composer uses this work to paint a picture of a utopia where nature peacefully coexists with mankind.

Recording of Edgardo Hugo Martinez's Ciudades desiertas. The title of this work translates to "Deserted cities" and is a sonic image that reflects the solitude of what could be habitants of a future city.

Recording of Agnés Poisson's Peut-être. This is a work for electronics. The composer describes this work in an interpretive way and speaks on the space between doubt and possibility.

Recording of Violeta Andreu's Spiral. This work represents the composer's reflections on the upcoming millennium as well as the vastness of space. The sound material in this piece is made up of the composer's voice speaking several words in relation to the cosmos, however they have been modified to the point of being unintelligible.