Recording of Mathew Adkins' Deepfield. This work was commissioned by the Césaré Musical Creation Studio at the Reims Planetarium and premiered there in 2000. The sounds in this work come from rocks of various sizes and gas cylinders, creating a sonar exploration of deep space and worlds unknown, inspired by the discoveries made with the Hubble telescope.

Recording of Javier Alvarez's Offrande. Offrande is a piece in four short tableaux which have in common sound materials coming only from two series of metallic drums, but which differ in the way of interfering with the electroacoustic elements. Using different techniques produce an ideal structural scheme for establishing a relationship between "live" and electroacoustic sounds.

Recording of César Amiguet Puig's Black Jukebox's tromblon. This work was made for electronics and a variety of concrete sounds.

Recording of Elizabeth Anderson's Neon. This work is the third and final piece in a cycle of works that are based on the book "Owning your own shadow - Understanding the dark side of the psyche" by Robert A. Johnson. In this piece, the microcosm of human consciousness is elevated to an environmental scale; the creation of the divine takes shape in the exterior world when opposites touch.

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.

Recording of Daniel Arfib's La transparence du voile. The composer describes this work as a "utopian ringtone of the third millennium". The two sound sources used come from photosonic synthesis and sounds from graphics processed with Metasynth.

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 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 Natasha Barrett's Utility of space. This work is an exploration of spatial musical structure and uses recited text from the "Tao Te Ching" as its driving force. This piece was commissioned by NICEM with support from Norsk Komponistfond. The composer has created two versions of this work, one for stereo and one for Ambisonics.

Recording of Andre Bartetzki's Rondeaux trouvés. This work was written for 8 speakers and the composer has included the ideal layout of the speakers. While writing this piece, the composer employed aspects of different musical forms of the rondeau and simple periodical and cyclical movements. Sound materials include recordings of some "rotating" objects as well as vocal and instrumental round dances from Bretagne, France.

Recording of Bret Battey's Writing on the surface. This is a work that was made for computer-realized video and surround-sound. The inspiration for this piece comes from quotes from Lao Tzu and Denise Levertov, which contemplate the passage of time and the idea of growth.

Recording of David Behar's A.R.E.. The composer states this work includes 3 parts but they are not titled. This is a work for electronics.

Recording of Jean-Louis Belmonte's Odissey. This work was part of the "Synthese" Festival in Bourges.

Recording of Valeriĭ Belunt︠s︡ov's Sympathetic Response. This work revolves around the sound of a rusty door which connects centuries and millenniums with the help of other concrete sounds and electroacoustic material.

Recording of Massimo Biasioni's Pallide risonanze avvolte. This work was composed for basset horn and live electronics and is meant to be a "duo" between two performers. The whole piece is built around the same musical material, but the context and electronical treatment of the sound are different for each section.

Recording of Michele Biasutti's Deep Sea. The work is a sound trip in the sea’s depths. The aim is transforming the sea sound events, proposing other ways of listening. Starting with the sea sound events, the piece would stimulate human abilities to discover imaginary sea soundscapes, with tracks that people can find in collective memory. The water sounds have a great symbolic value, since all humankind experienced living in the amniotic liquid. The water elements were used to enter in the collective memory’s dimension, transforming the timbres from sound to noise. All the sound material used in the piece was derived from sea sounds. The sea sounds were signal-processed by computer with elaboration such as pitch shift, stretching, filtering and distortion. In this way, the sea sounds became hardly recognizable. The formal development of Deep Sea follows psychological principles, considering the perceptive thresholds for stretching. Elaborations in the low register and polyrhythmic crescendos were used. The composition proposes a new semantic dimension of the water sounds, utilizing a perceptive game between the new framework and the memory’s abilities evoking the original sounds. The premiere performance of Deep Sea was given at ACMC 2000, Interfaces, at Queensland University of Technology in …

Recording of Michèle Biasutti's Ricercare. This work is for recorder and signal processing, the composer asks that the recorder player play both tenor and bass recorders. This piece is based on research done in the field of psychology of music, such as masking, space-time perception, and perceptive illusions on rhythm. The recorder should be amplified by microphone with the electronics and instrumental sounds being at equal volume.

Recording of Michele Biasutti's Virtual shapes. This work applies perceptual phenomena studied in both psychology and music. Sound material from traditional instruments are used and become gradually unrecognizable until the traditional shapes become virtual.

Recording of Andy Birtwistle's Steel II. This work celebrates and mourns the failure of the Modernist dream represented by poet, Geoffrey Bridson's, 1937 broadcast: "Steel: An Industrial Symphony". It also captures the sound of an optimistic, heroic Modernist in the 21st century and how the new century would sound in contrast to the last.

Recording of Rainer Boesch's Augen aus Blicke. This work was created for the Synthse festival in Bourges.

Recording of Serge Bouc's Actualitanie. This is a work for electronics that contains various samples of spoken word.

Recording of Thomas Cahill-Jones' Delete "e" unit. The ideas behind this piece were rooted in transformations of sound and the juxtaposition of them, which resulted in landscapes of the real, unreal, and surreal.

Recording of Mauro Cardi's Altrove con il suo nome. The text in this work is sampled from "Oggetto d'amore" by Pasquale Panella and the theatric content of the text is reflected in the recording. The sound materials used in the tape is primarily made up of samples from the actress' voice. The piece premiered in Rome in December, 2000 and again in 2001 as part of a larger project.

Recording of Werner Cee's Cities' drift. The composer describes this work as an area where electroacoustic and choral music meet and interact. Many of the sound materials used in this work were derived from recordings taken during concerts of the "Kamer" choir, including the singing as well as noises before and after the performances.