Recording of José Iges' Leccion de retorica. This work revolves around the composer's interest in the problem of rhetoric which includes the works of musical Romanticism and those of the piano. To explore this idea, the composer used samples from a recording of Brahms' “Variations on a Theme of R. Schumann, Op.23”. The composer followed the example of the works Amici della Musica di Cagliari and Ricercare.

Recording of Rodrigo Restrepo's A punta de coccion. This work was inspired by the washing of dishes and was elaborated using the sounds generated by the manipulation of kitchen tools. This is the first electroacoustic piece created by the composer.

Recording of Claus-Steffen Mahnkopf's D.E.A.T.H.. This work is part of a cycle of pieces dedicated to the American writer, Thomas Pynchon, that combines ensemble music, a solo piece for cello, music for tape, as well as live-electronics. All sound materials used in this piece are electronically treated oboe-multiphonics.

Recording of Jésus Jara's Cadaveres exquisitos. This work is for electronics that includes tuba sound samples. It was performed at the Alicante International Contemporary Music Festival which fell under the theme of "The View of the World".

Recording of Pierre Alexandre Tremblay's Auto portrait. This work was commissioned by the Rien à voir festival to mark its tenth anniversary and premiered during the Rien à voir concert series presented by Réseaux at Espace GO in Montréal. Like the title suggests, this piece is meant to act as a means for reflection, introspection, and renewed consciousness.

Recording of Tae Hong Park's Aboji. This work is a companion piece to "Omoni", both works being composed originally for two channel playback and subsequently for eight channels. The sound samples used in this composition are mostly speech, environmental, synthesized, and processed sounds that were a result of numerous interviews with various individuals.

Recording of Pierre Jodlowski's Barbarismes. This work was created for an instrumental ensemble and electroacoustics and was commissioned by l'Ensemble Intercontemporain. The inspiration for this work is the meaning behind the term "barbaric", specifically throughout the Middle Ages. The composer states that this work is divided into three main parts: the Knight, the Fool, and the King.

Recording of Bret Battey's Retrocoagulant Vox. This work was created for bass trombone and computer-realized sound. It was commissioned by trombonist, Chad Kirby, whose extended trombone techniques presented both a unique opportunity and a distinct challenge. The composer's method was to develop the computer part and the trombone part in parallel in a multi-track sound editor.

Recording of Anna Rubin's Landmine. This is a work for amplified flute, live electronics, and digital audio. This audio contains spoken text interwoven with other musical material that dictate the experiences of David Levi Strauss in regards to landmines and demining in Cambodia. Other material is also drawn from the Human Rights Watch Report on Landmines. The work premiered at Bowling Green State University with flautist, Fiona Wilkinson.

Recording of Michèl G. Koenders' Helmet & sling. This is a work for trumpet and computer that has been composed for 4 tracks. This is the last piece in the composer's work "Armamentscycle" which includes three pieces for solo instrument and computer. It was commissioned by Theater Kikker for their reopening in September 2001. The composer describes this piece as a so-called "Algorithmic composition" in which complex calculations are used to form the basis of the pitch, dynamics, and duration of the notes while keeping much of the sound manipulation in the hands of the performer.

Recording of Roald Baudoux's La violence (mix2). This short piece was composed for the Phonurgia Nova 2001 competition the rules of which stated that at least one extract of a radio library provided by the organizers had to be included in the composition. The record that grabbed the composer's attention was one that included words by French writer, Jean-Paul Sartre: "La violence est la seule chose qui reste, quel que soit le système". The composer used this question of violence to inspire the rest of the piece.

Recording of Eric La Casa's La dispersion d'un corps au crépuscule part 1-3. This work is based on recordings created by Joël Leick while in his workshop on Rue Norvins. The composer describes this composition as being that of a live canvas. We can follow Joël Leick in the creation of a work, from preparation to completion.

Recording of Guillermo Senn's ...hasta el aire se rompe. This piece was created for the dance work by the same name by the Gristenia group. It premiered at the "1st Contemporary Dance Festival" (2001) under the direction of Natalia Arrascaeta. The choreography tries to represent the relationships of human beings in a world full of conflicts.

Recording of Otto Laske's Trilogy. This work was conceived in the spirit of a symphonic work in three movements (Erwachen, Echo des Himmels, and Ganymed) and spans the range from epic, to dramatic, to lyrical. All three movements take their semantic cue from the German poet Hoelderlin. The composer states that this work is a "kind of Summa" of their compositional life. They would like to see this piece used by a choreographer in order to behold the movement of their life rather than be enmeshed in living it.

Recording of Peter De Moncey-Conegliano's Abstract n° X. The composer describes this work as an abstract mindscape based on a distantly experienced reality. The basic materials are sounds the composer recorded in China.

Recording of Hanns Holger Rutz's Residual. This work consists of 5 parts: 1st Residual, 2nd Residual, 3rd Residual, 4th Residual, and 5th Residual. The composer notes that "5th Residual" can also be called "Last Residual". This work explores what remains of the human memory under the process of temporal erosion. The composer has taken the original sound materials and put them through transformation, destruction, and confrontation to reflect what he was feeling the year before it was written.

Recording of Harold Vásquez Castañeda's L'oraison des chauves-souris. This is a work for alto flute and computer. This work was inspired by bats and attempts to combine the characteristics of bats with imperceptible sounds that have been transposed into something audible for humans. The composer states that this piece should be listened to with eyes closed.

Recording of Wesley Fuller's Vers. This work combines spoken word and music created on the computer. The piece reflects a volume of thirty-six poems called "Swarm" by Jorie Grahams. These poems focus on the weight of fulfilling the need to speak as well as the responsibility that comes with the human need for love. In this piece, the poet recites poem 640 of Emily Dickinson.

Recording of Fernando Laub's Eleven Miniatures. This work was created using multitrack recording and the sound materials of an ocarina and a violin. The composer describes this piece as including a strong contrast of colors that are almost complementary.

Recording of Marie-Hélène Bernard's Dans les plis de la caverne. This is a work for tuba and fixed mediums. The composer references poet, Henri Michaux, when describing the thought process behind this composition. The composer was especially inspired by the poem "Le Grand Violon" where the violin is described as a "violin-giraffe".

Recording of Ivana Busu's Naufragi. This work was created to pay tribute to an example of 80s pop music: Message in a Bottle by The Police. This composition is separated into five sections, each of which have their own theme. The first section focuses on radio, the second represents a natural desert island, the third represents the state of mind of a castaway, the fourth theme is purely musical, and the fifth brings all of the previous themes together.

Recording of Karl Friedrich Gerber's Fluss. This is a work for electronics that includes piano samples.

Recording of Jonas Broberg's Drawn from a Reality. This work was commissioned by The Swedish Radio Broadcasting Corporation of Stockholm, Sweden. The main sound material used in this work was derived from an automobile being pushed forward along a floor. This sound was then processed and used together with purely synthetic sounds. The title has to do with different meanings of the word "draw" as in "to take from" and to "compose a picture".

Recording of Miguel Azguime's O ar do texto opera a forma do som interior. The composer describes this as a sound poetry stage work for a speaker/actor. This piece is made of 4 sections that follow each other without interruption and have the following subtitles: "Ar do Texto" (the Air in the Text), "Formant-Melodies", "Sem Recurso" (Without Resources), and "O Som Interior" (the Inner Sound). Although there are some spoken words in Portuguese, most of the text is meaningless and was written as sound compositions.