Recording of Wende Bartley's, In the light shadows fall. This three movement piece features, text from Women and Nature: The Roaring Inside Her by Susan Griffin. The text fragments were recorded and improvised upon by sound poet Paul Dutton. The sounds heard feature a string quartet, recorded vocal material, a Roland S550 sampler, and sounds from a Yamaha DX7.

Recording of David Sheppard's The question of being. This work is for tape, which contains three sections. The sections are taken from a larger electroacoustic work, "The Humorless Puzzle", which helps link transformations between the present and past work. Section one considers the question of being. Section two look at the process of man regardless of the question, Finally, section three reflects upon consideration and progress. The sound were used by making electronically processed sounds.

Recording of Daniel Park's Piatek. This work uses voice in different languages and styles, which are interrupted by fragments of electronics. The synthesized sound are very still and have many harmonies. The segments of speech are either processed and put through effects or kept as is containing little to no digital processing.

Recording of Jean-François Cavro's Traverser les galaxies blessées pour christal et hautbois. Performers must be willing to play 2 instruments (cristal and oboe), sonorities, and different factors. The composer recommends performers work on the virtuosity, the roughness, and the attack of the oboe as related to the timbre of the cristal.

Recording of Katharine Norman's In her own time. In this piece the speaker discusses memories concerning her life in London during the Second World War. Aspects of time and recorded sound replayed and transformed in the present, sound recorded on location, places, and people as they are now and were then also an important feature of this aural documentary.

Recording of Francis Dhomont's Figures de la nuit (Faces of the night). This piece is about dreams and the concept of one's existence within the night. There are samples of voices, sine tones, nature, and electronically built and/or manipulated sounds.

Recording of Frederick Semeniuk's Neanderthals in a telephone booth. This piece takes a telephone voice from AGT telephone lines in Canada and processes the messages using multiple effects and sound manipulation. The work starts off simple and progressively gets more complex, which resembles the exaggeration of technology and understanding our world of communication, which may seem strange to Neanderthals or even kids. AM5477 and Audiotrack were used to create this work.

Recording of Jospeh Hyde's Seven Waves. This piece is for instrument, live electronics, and pre-recorded tracks. The flutist in this recording uses lots of extended technique, while the electronics are bases on a Csound system. The pre-recorded track is made up of manipulated flute and voice sounds. Electronic amplification is used on the flute for clicking keys, and mysterious whistling tones. The live electronics similarly function as a kind of microscope, picking out elements of the flute part and bringing them to the foreground.

A recording of Curtis Bahn's Vocable vamp performed by Ron Vincent. This piece is based on the voice of New York jazz drummer Ron Vincent. This composition combines the vocabularies of electroacoustic music and jazz by employing algorithmic compositional procedures to reorder and mix Ron's jazz vocables.

Recording of Robert Grassi's L'ouest du palmarès. The composer describes this work as a live improvisation from a sample percussionists and speaker. The instrumentation was created by Yamaha drums and a Yamaha sampler.

Recording of Mladen Milicevic's Big bang of the apocalypse. This recording was made for electronics and the text comes from the book of Genesis in the bible.

Recording of Jean-Christophe Banaszak's Juste avant le silence. The composer describes this piece as a timeline of mankind and their efforts through history to create a great world while simultaneously destroying it. The end of the piece is the start of a new beginning where humankind finds their future in their roots.

Recording of João Mendes' Paisagens sincreticas. This work is an exploration of 20th century musical icons along with the growth of techonology. Sound materials are used from Billie Holiday, the Beatles, Stravinsky, and Schönberg and have been processed.

Recording of Marco Ligabue's Radiodays. This recording is a "radio" soundscape of some moments from the 20th century.

Recording of David Sheppard's Creamer. This work is based on the ambience of a café and the title touches on two concepts: the abstract world and the environmental atmosphere of the café.

Recording of Günter Heinz's Berlin views. This work presents the "sound of the city at the end of the century" and arose in connection with the video project Ç Vortex È of Akademie der Künste Berlin.

Recording of Julia Dmitrioukova's Y-Planet. The composer intends for this piece to encapsulate the idea of Earth transforming from a simple life planet to "point X" in galactic space during the 20th century.

Recording of Jacob Ter Veldhuis' Grab it !. This composition was based on voice samples from American prisoners sentenced for life, taken from a documentary called "Scared Straight". The composer used pitch, rhythm, and melody to turn the spoken word into a musical theme.

Recording of Rachel MacInturff's Origami Animae. This work was created during a beginning level class in Electroacoustic Media. The students were given pieces of paper and began creating various sounds that came together to make this piece which was diffused in a concert format. The composer gives her thanks to the class and makes a note that she was glad to have recorded the laughing of the students at the end.

Recording of Elainie Lillios' Arturo. This work is based off of an interview with a tarot card reader living in Denton, Texas named Arturo. According to the composer, Arturo has interacted with many people and learned many life lessons. This piece reflects some of his views on life and the casting of cards to reveal future possibilities.

Recording of Edmund Campion's L'autre. This work explores the similarity between "consciousness and the unconscious" and the "contention for ascendancy between poetry and music". The piece begins with an emergence of consciousness - the birth of language out of sounds and syllables and dives into the development of the two elemental principles.

Recording of Jacob Ter Veldhuis' Lipstick. This work is for amplified flute/alto flute and boombox and was written for Eleonore Pameijer. The soundtrack is based on audio from American talk shows and an interview with Billie Holiday. The composer credits two flautists for two separate recordings of the piece: Eleonore Pameijer on JacobTV - Heartbreakers and Alejandro Escuer on JacobTV - The Shing City.

Recording of Sylvi MacCormac's Waves of Kokoro. This work is an electroacoustic soundscape for Kokoro Dance and includes the voice work of Barbara Bourget and Jay Hirabayashi. This piece received Honorable Mention at IMEB, Synthse '99.

Recording of Jorge Rodrigo Sigal's Babel. This work is part of a larger CD project called "Manifesto". The piece is meant for flute, tape, and optional live electronics. The sound materials were recorded in Spain, France, and Mexico City. The composer dedicates this work to Stefano Scarani and it was premiered by Mr. Harrie Starreveld.