Recording of Grant Cho Covell's Handel variations. Handel Variations: Theme with twenty-five variations on the Sonatina in B-flat Major (G. 40) by George Frideric Handel (1997) for tape. Each with differing sonic characteristics and sound processing. Designed to be played from a CD, so that any number of variations in any order can be performed (in fact, the variations’ numbering scheme purposely thwarts a chronological order). In an ideal performance, the variations and the theme would be played in random order, but so that the following program notes are useful, a random order is already provided.

Recording of David Prior's Somewhere sub-marine. For piano and electronics. This work uses improvised piano and accompanies it with a sonic still soundscape full of harmony. The use of sound effects and electronically manipulated sound bits add interruptions in texture.

Recording of Jonathan Mitchell's Vinyl. Vinyl was composed in 1993. It's a piece of musique concrete constructed using sounds generated by phonograph records. The sounds were processed using various editing techniques and a Buchla 200 series analog synthesizer.

Recording of Igor de Gandarias' La Feria Fantástica. This work was realized at the University of Maryland Electronic Music Studio using a Fairlight Series III station. The sound sources come from live recordings made in 1991 during the celebration of the most important popular feast in Guatemala City, called “Feria de Jocotenago” (Jocotenango’s fair). The feast, dedicated to celebrate the city’s patron anniversary (Virgin of the Assumption), takes place in August every year, enduring the complete month. Its activities contain not only religious ceremonies and processions with their particular musical environment (choirs and processional bands) but folk dances, food, games and entertainment. The recordings include: voices of a children's choir and voices of congregated people singing into the church, Indian speaking voices, snare drum processional patterns and rolls, a popular processional band piece, and a traditional Indian marimba piece which accompanies popular Indian dances during the procession. The sound of rhythmic patterns played on the rattles by the dancers; electronic games, church bells and the little bell of an ice-cream vendor were also recorded at the fair. Other sounds coming from three musical toys, which are usually on sale on these feasts, were recorded in studio.

Recording of Gilles Gobeil's Là où vont les nuages.... The composer states: "This "super-instrument" that the Midi system allows gives access to a host of sounds - simple or complex - which envelop and accompany the timbre of the Martenot waves but while remaining subject to the sensitivity of the performer's playing."

Recording of Serge Belimov's Vers l'autre source du flux. This work is for voice, flute, and tape and was written at the Ateliers UPIC (now CCMIX - Center for Musical Creation Iannis Xenakis). In the vocal part of this work, the composer achieves a perpetual continuum between the "breath" sound, the sung sound and the spoken sound, such as one often encounters in extra-European music. In the flute part, the same continuum is created by the interaction of several playing modes. The UPIC tape samples were created from voice and flute.

Recording of Pierre Mariétan's Les dits de nobuyo. The composer states: "The "reality show" is that of the sound, of its own story implemented here in the relationship of the voices to each other with the noises captured, all of this inscribed in the silence of the composition. What these sounds, the voices, the story say, is to be interpreted by the listener according to his feelings, the awareness of what he perceives. The reality show does not want to be, like on television, the alibi of a unique and bygone reality. Its conclusion is that of the listener, discovering through the acoustic image that comes to him, not a visual representation of the sound (whatever one does one will never see a sound), but a formal configuration , dimensioned, resulting from the alliance of sound and space."

Recording of Jacob TV's Les soupirs de Rameau. This is a multimedia work for harpsichord, tape, and slide project. It was commissioned in 1995 by the Amsterdams Fonds voor de Kunst and dedicated to Annelie de man. Inspirations for this work come from "Les Soupirs" from the Suite no. 2, Pièces de Clavecin by Jean Philippe Rameau.

Recording of Pierre Mariétan's Paysmusique symphonie. This work is for large ensemble and tape. It includes sections of a large crowd talking all at once and sections of a symphony orchestra performing a work.

Recording of Jens Hedman's Mix-up. This work consists of 500 sounds in 500 seconds and is made up of fragments from the composer's favorite music. The raw material comes from music that has shaped the composer's musical language, including pop, jazz, rock, classical, and modern pieces. These fragments have been manipulated so that they cannot be traced to the originals.

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 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 Trevor Wishart's Two Women. This work consists of 4 movements: 1. Siren, 2. Facets, 3. Stentor, and 4. Angelus. This work is meant to act as an extended sound documentary, where the voice samples of Margaret Thatcher and Princess Diana create both a political cartoon and personal portrait respectively.

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 Mihail Afanasiev's Ni le rêve, ni lumière, ni la tristesse…. This is a work for electronics and is the continuation of the new sound space mastering.

Recording of Adolfo Nunez's Toda la humanidad habla de troya. This recording is the soundtrack of a video that premiered at the Tabarca Island in the Festival of Contemporary Music of Alicante. It was part of a multimedia show and based on texts by Euripides. The sound materials come from recordings of said text being recited by various actors and philosophers as well as their personal thoughts on it.

Recording of Paul Koonce's Breath and the machine. This work was composed for 2 or 8 channel tape and is a meditation on the ritual of musical sound. The piece explores the relationship between performer and instrument and the process of turning focused air into sound.

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 Natasha Barrett's Viva la Selva!. This work consists of 4 continuous sections: 1. Morning introduction, 2. Midday heat, 3. Dancing at night, and 4. Dawn and rain. The sound sources in this work were recorded in a Central American rain forest, where the composer and their colleague traveled to record said samples. This work was commissioned by NICEM with support from the Norwegian composers' fund.

Recording of Frank Schweizer's Overrun. This is a work for electronics.

Recording of Frank Schweizer's Songline. This work is made up of 10 untitled movements and contains various concrete and electronic sounds.

Recording of Agnès Poisson's L'énigme du grain de sable. This work is a tribute to movement and displacement, experimenting with different modes of locomotion in each sound fragment.

Recording of Craig Walsh's Junket. This work contains a variety of synthesis techniques as well as samples of spoken word throughout the work. The composer states that the work is comprised of three large sections, linked with transitions, and a closing section.

Recording of Charles Nichols' Interpose. This is a work for guitar and computer-generated sound. The composer describes this work as "a study in the interposition of gestural content on the local and structural level".