Recording of Rose Dodd's excess pitch. This is a work for electronics.

Recording of Robert Normandeau's Figures de rhétorique. This is a work for tape and piano and explores the relationship between the two through the lenses of different figures of speech. This work was commissioned by the pianist, Jacques Drouin, with financial support from the Canada Council for the Arts. It premiered at the Chapelle historique de Bon-Pasteur in Montréal. The composer gives thanks to Guy Soucie, Michael Alcorn, and Daniel Teruggi.

Recording of Lutz Glandien's Fear of flying. This is a work for electronics that consists of plane sounds and spoken word.

Recording of Michele Biasutti's Labirinti. This work consists of only sound material from Schubert's Unfinished Symphony. The excerpts have been manipulated and rebuilt to create something new and inspire fresh listening. The work premiered at the Cripta of San Dominic Hall in Cagliari as part of the Amici Musica season concerts.

Recording of Johannes S. Sistermanns' I hear you think. This work consists of various concrete sounds as well as spoken text written by Hazrat Inayat Khan.

Recording of O. Powers' Ghost ship. This work was inspired by the legends surrounding the part of the Atlantic Ocean known as the Sargasso Sea. The legends speak of a fantastic graveyard of lost ships and the composer feels this work has something to do with encountering the ghost of the sailors. The sound material in this work is made up of various concrete sounds that have been manipulated.

Recording of Claude Hermitte's Les pensées de la terre. This work consists of various concrete sounds as well as recordings of a piano. The composer references a ceremonial Navajo song and urges the listener to think about the text while listening to his piece. The text speaks on the beauty of the world and the connection of everyone to it.

Recording of Mario Verandi's Fréquences de Barcelone. This work is based on recordings made in Barcelona, comprising a wide range of environmental sounds from different locations. The composer's goal was to stage Barcelona's soundscape, to explore and unveil its dramatic potential through interconnected scenes and perspectives. This piece premiered at the Festival Musica in Strasbourg, France.

Recording of George Budd's Political science. This work is a contribution to the CD compilation "Turntable Solos", curated by Otomo Yoshihide. This was an international survey of the "state of the art" as practiced by a diverse group of artists using only turntables. This composer was chosen to represent Los Angeles.

Recording of Eric La Casa's Chrysalithe. This work is comprised of various concrete sound materials that have been manipulated and assembled together to create a triptych. The composer has titled the three sections as: "L'inspir", "La traversée", and "L'expir". The composition represents a rebirth as well as the "everlasting motion of the self".

Recording of Stefano Giannotti's Giovanni e gli alfabeti. This work is based on the theme of language sound richness and includes various alphabet phonetics from different languages. The main focus of the piece, however, is the singing of Giovanni, who performs a song in his dialect and tells stories about his youth. The piece is available on CD.

Recording of Frank Ekeberg's ...des cantiques. This work is based on excerpts from the Song of Songs from the Old Testament. The reading of this text has been processed and acts as the main sound source for the composition. The music reflects the content of the text and seeks to expose sides of the human psyche during loss and desolation.

Recording of Gabriel Prokofiev's Punch me! Bite me!. This work expresses frustrated attempts to let out inner thoughts and feelings. The music reflects the punches and bites of restricted expression and the struggle to be understood.

Recording of Stephan Dunkelman's Signallures. The composer tried to stage two ways of touching (percussion and friction) and moving (trajectories in the width or depth of the stereophonic field) a sound element. To unite each touch with a type of trajectory and, by modulating them, establish their breaking points and their angles of harmony. Signallures was produced in 1991 at the studios of Musiques & Recherches (Ohain, Belgium) and premiered in April 1991 during the concert of the SEM (Studio voor Experimentele Musiek) in Antwerp, Belgium. Signallures was a finalist in the Luigi Russolo Competition (Varse, Italy, 1991). It was recorded in 1996 on the disc ÇAcousmatica, 2nd International Meetings of Young Composers of Acousmatic Music, Acousma (CD 1296). Accompanying text is as follows: "Exhume from oneself all that trembles. To play with what slips away. Diving, certain of his failure. Waking up in yourself a little less cold."

Recording of Jacques Tremblay's Oaristys. This work is made up of 6 small movements: L’appel du désir, L’approche, Étreintes et voluptés, Pulsion animale, L’éclatement, and Désinence. It is a work for electronics that includes several pre-recorded sounds. The composer states that the subject of this work is eroticism.

"... The watermark of a drawing fine enough to escape the bite of termites ..." (The invisible cities) "D'Italo Calvino. Rhythmic series of fragments of sounds, arranged in a certain order according to regular spacings, grouped together in independent sets, alternating with other types of sets, made of tapered sounds, modulating loops, emergences. From this thick sound appear the thread and the grain. The movement order is as follows: Zobeide - Sophronia - Antropie - Zemrude - Despina - Procode - Octavie - Ersilie - Phyllide

The work is based entirely on the bells of the Basilica in Quebec City as recorded by the World Soundscape Project at Simon Fraser University during a cross-country tour in 1973. The three bells are heard at their original pitch, as well as an octave lower and a twelfth higher, but all of these versions are stretched in time, often to twenty or more times their original duration. The extended versions allow the listener to hear out the inner harmonics inside the bells, and in moving inside the sound it seems as if we are entering the large volume of the church itself. The piece is an elaboration of a section of the composer's work Dominion (1991), for chamber ensemble and two digital soundtracks, which is based on soundmarks from all across Canada. Basilica is available on the Cambridge Street Records CD Song of Songs. The 8-channel version of this work was created with the DM-8 computer-controlled diffusion system. Technical note: The work was realized using the composer's PODX system which uses the DMX-1000 Digital Signal Processor controlled by a PDP Micro-11 computer. The principal signal processing technique involves time stretching of the sampled environmental sound with software for real-time …

Recording of Jorge Rapp's Tres momentos. This work was produced at Rapp's CEM Sound Laboratory and the eight channel version was composed in the LIPM. The composer separates the piece into three sections: the first is dedicated to electronic sounds, the second consists of a processed male voice, and the third incorporates a modified choir sound mixed with materials from the first two sections.

Recording of Etienne Saur's La vague. This work was created for a choral dance created as part of "la Fête dans la ville" and in collaboration with the dance class of the CNR of Amiens. This composition used the movement notation system called kinetography invented by Rudolph Laban.

Recording of Pierre Jodlowski's Dialog / N Dialog. This piece is described as being a bit like a theater duet, with two situations and two actors. The DIALOG portion refers to when there are two characters on stage with figures interlacing. Within DIALOG are semblances of games of seduction and balances of power; tensions and reconciliations in the spaces of gestures and timbres. The NO DIALOG portion, in contrast, involves withdrawal into oneself, inner dialogue, fragile simultaneity, and - sometimes - the impossibility of "being" together. The protagonists of Dialog / N Dialog are the flute and voice, with the flute characterized as on stage, quick, talkative, tender or violent. The flute part involves games of timbres from sound to breath, games of registers and speeds, tension of writing, and electronic transformations for a projection in space. The voice, virtual, in its loudspeaker appearances, is whispered, sung, spoken and articulated via studio manipulations; it multiplies, metamorphoses into dynamic phenomena, induces a harmonic field (song) and seeks, more than anything, rivalry and its own autonomy. Dialog / No Dialog was produced with the technological means of IRCAM (signal processing, synthesis, real-time transformations) and was created with the financial support of the …

Recording of Riccardo Santoboni's Rituals. Rituals was thought to underline the nature of cyclical recurrences, through perceptive semantic signals related to "rituals", named "perceptive Tonics" from the composer. A bell, a voice, and Tibetan pipes sounds are the main sound material of the work. Electronic is used to underline the peculiarities of the sounds, through the extreme stretching both in time and in pitch. It is used furthermore to modulate some spectral peculiarities of a sound to another sound, in order to obtain timbral families which get progressively far from the real instrumental sound (with convolution, LPC, Phase vocoder). Rituality is related to reiteration. Reiteration is obtained by a re-proposal of the sound material used. Any action if reiterated, may assume rite meaning, as well as rite value. We can speak about reiterated rituals when different ritual semantic sound signals are reiterated. All this brings a listener to remain in a sort of referential prison: even though the evolution of the piece tries on every way to elude ritual processes, the semantic signals associated to them come strongly back to throw man into the mechanism of rituality. Rituality is thought as a weight from which man tries to get away …

Recording of James Dashow's ...at other times, the distances. Quadraphonic electronic music. This work is a re-working of the electronic materials from FAR SOUNDS, BROKEN CRIES, for 12 instruments and electronic sounds. With the exception of a single cello note, the sounds were produced by the composer's MUSIC30 language for digital sound synthesis, and subsequently elaborated by additional signal processing.

Recording of Etienne Saur's Des ondes, toujours des ondes. This piece was composed within the framework of the open work "le Monde devenu musique l'écoute du siècle". The concept behind the piece is the idea that we are all surrounded by waves constantly: the telephone, radio, television, etc. The composer focuses mainly on the importance of the radio over the last century by highlighting significant events and their broadcasts.

Recording of Frederick L. Malouf's Communications. This work was written in response to a call from the Bourges festival. The composer describes the piece as what the imagination might conjure with regard to how the communication super highway might sound.