Recording of Agnieszka Waligorska's 6th day. This work is for electronics, voice, pre-recorded manipluated sound, and saxophone.

Recording of Joshua Fried's About Howard Johnson/Affirmative. This work uses MIDI in unusual ways. Sound modules become a silent controller of analog gates, and continuous controllers manipulate digital processors in real time. When channel gates are triggered at an even rate, one obtains the well-known strobe effect of slowing down, stopping or even reversing the apparent motion of a rotating object. As trigger cycle and loop cycle move out of phase, bits of sound seem to wander from speaker to speaker through the space. This work also functions as a study for live performances that will process found sound with a combination of selectable algorithms and performer control.

Recording of Germán Toro Perez's Akustisch-visuelle Fragmente aus einer experimentellen Animation. This is a work for electronics and consists of 12 untitled movements.

Recording of Ake Parmerud's Alias. Alias is inspired by the thoughts on the relationship between the composer, Gesualdo da Venoza, and his art. composed of two opposing movements, the first of which is based upon a fragment of a love-song by John Dowland (contemporary to Gesualdo) has been deconstructed, processed and reprocessed into a set of variations output in a linear fashion. The traditional lute-part has been strongly stylized into a chord comprised of the note A-1 and the first 16 harmonics on top. The function of the plucked string sound is however essentially the same as the traditional lute-part. The second movement is an attempt to sketch a slightly surrealistic picture, This is done using quotations from some of Gesualdo's late motets and occasionally blending with them a Dowland lovesong.

Recording of Rajmil Fischman's Alma latina. The composer has this to say on the background of the piece, and of this piece itself: Time is a strange background against which our lives develop. Linearity is usually out of the question and memory cunningly warps and re-invents our past experience to such an extent that the latter becomes alive, threading between past and future. It has been forty years since my personal thread started, more than twenty since I left the birthplace and a long time since my last visit. During all this span - especially after leaving and finding other homes - the conglomeration of conscious and subconscious moments bubbled out, combined with new experiences and created labyrinthine inner passages in which sounds, images, smells and other sensations from different periods mixed and evolved into new forms. Music which was previously dismissed and undervalued suddenly acquired a new significance. Strong images of pain and joy amidst the contrasting richness and poverty of a South American city became representative of a historico-political situation. Taste and scent of food, combined with the physical sensation of dance movement, turned into cornerstones of thought about the essence of human condition. All of these are …

Recording of Christopher Penrose's American Jingo.

Recording of Trevor Wishart's American Triptych. The composer describes the aim of this work as to "recreate and transform the voices of well-known public figures in order to comment on them or their social context".

Recording of Christopher Rolfe's The answer which the court give you. The two sections here were excerpted from a longer work for piano and tape. The text material is drawn from documentary recordings of oral arguments before the U. S. Supreme Court, and processed by various resonant synthesis techniques (Karplus- Strong, convolution). The piece sonically depicts that public speakers are fundamentally creating music.

Recording of Lou Mallozzi's Aquapolis. The sound material is language and ambient recordings. The text is written in English, and has been translated into German and Venetian Italian. There are aquatic sounds, body sounds, and sounds of physical labor. Conceptually, the piece is based on a fictional trans-historical walk through an aquatic city, loosely based on Venice. The piece is in four sections: Preamble, 2000 Years Ago, 200 Years Ago, and This Year.

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 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.

Recording of Jack Body's Barbe à Papa (Arum Manis). The original recording forms the basis of the tape and is the sound of a two stringed fiddle played by an Indonesian seller, recorded by the composer in 1977. Carrying the already made candy floss in a bin from his shoulder the seller played the fiddle to advertise presence. The music was both improvisation and sometimes recognizable tunes, and consisted of a melody.

Recording of Jürgen Bräuninger and Ulrich Süsse's Le bass de auf a bourges du dat. It is a work for saxophone, bass clarinet, and electronics. There are speech snippets which are accompanied by free improv from the saxophone and clarinet, while processed and manipulated recording of these instruments play in the background.

Recording of Terje Winther's BE. This work is based on spoken text from Shakespeare and Edgar Allan Poe as well as orchestral sounds written by the composer for a piece made in 1985-86. The composer describes this work as "a piece of transition, of static, and the latent power that lies in the communication between the two".

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 John Rimmer's Beyond the Saying. This work transforms a recording of the composer saying the phrase, "You reap what you sow". There are five main types of sounds. These sounds include a brush stroke-like gesture, arch shapes of sine wake-like sonorities, stretching in time of individual words, diphthong sounds, and displays of percussive consonants. It was composed at the Computer Music Facility, Centre for Arts, Simon Fraser University in Vancouver, Canada.

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 Pierre Alexandre Tremblay's Binary. This is a work for electronics that includes concrete voice sounds.

Recording of Eric Lyon's The blistering price of power. It is for flute and electronics. This piece samples outside sources and changes the sound construction to accompany the flute. There is times when the electronics provide a percussive effect and guidance for musical transitions. The flute uses the full range of the instrument, contemporary technique, and explores different musical styles.

Recording of Trevor Wishart's Blue Tulips. This work is built on a recording of an old woman's voice and is more like a documentary in style. The story recounted provides all the material for the piece, which becomes a short study in sonic transformation and variation.

Recording of Gerald Siclovan's Bone. Text: "Cacophany" by Marc Christensen, read by the author and Mary M. Miller. Language cut to the bone: the piece begins with an isolated phoneme compressed and looped into a synthesizer-like texture, which gradually expands until it is transformed into the first word of the text. All sounds up to the end of the second stanza are manipulations of the human voice. Language conflated with non-language: the human voice as both means of communication and as instrument of incoherence. Language abandoned and superseded by the din of the world: voices embedded in desultory noise, failing to convey meaning; voices of birds and dogs which, though unpenetrated by human comprehension, at least remain recognizably articulated; voices of insects, which are not even articulated (at least to human perception); and voices of machines, inhabitants of a menacing wonderland, matter devoid of spirt. Among the noises heard in this piece: motorcycles, automobiles, ice cream trucks, the air brake of a school bus, a gasoline-powered generator; an especially obnoxious car alarm; radio junk emanating from automobiles and homes; firecrackers and fireworks; birds, dogs, crickets and cicadas; and of course the omnipresent hiss and rumble of the dystopic industrial world, …

Recording of Fernando D. Polonuer's Breve reseña sobre los sueños, el vacío y la enfermedad. This composition is described as a program category work. It represents three steps in a painful and unconscious way to self-destruction. The dreams: the perception of loneliness and memories. The emptiness: the wake up, the light, the reflection, the comprehension. The illness: self-destruction, the fight for survival, pain and defeat. This work includes voices which have been recorded in different years. There is a voice singing fragments of a Tango called "Sus ojos se cerraron" and spoken words with thoughts about linguistic texts. Included texts and quoted material are listed by the composer, in English, as follows: "Today, my heart is lonely..." / "This silence is so cruel, is hurting me so..." / (Spoken) " Promises: can't they be true or false? When you say 'I promise!' that is already a promise - even though it might be a lie. Eh, I don't like that one bit!" / (Spoken) "Unreal conditions, I swear..." / "Intertwined tears refuse to come out..." / (Spoken) "The amount of indirect sense that is usually implied is an immediate problem..." / (Spoken) "She says there is a distance between superficial …

Recording of James Bentley's Bruit.