Recording of David Alarcón's Grito 1. This piece emphasizes silence many times and as the piece plays the silence become less and less. There is heavy use of musical spatialization, the sounds travel through the stereo listening field. This piece utilizes many sound and tones from many different frequencies.

Recording of Armeno Alberts' Hake. The title refers to singing in traditional Javanese music, meaning a cry of joy. The work was entirely composed on the UPIC system, exploiting in particular the possibilities of tuning with the frequency tables. I also used frequency modulation to give an "orchestral" aspect to the sound. Many waveforms were taken from samples of gamelan orchestra instruments. The tape can be played alone or with a score for four gamelan instrumentalists.

Recording of Antonio Alcazar Aranda's Materia: Piedras. The starting point for its realization is twofold. On the one hand, unique sound material is produced by the collision of two stones; on the other hand the composer took from number three and four as computer nuclei or speech generator, a decision that will have implications as much at micro level as structural macro. From the point of view of crossing, the work offers a certain minimalist treatment of material: repetitions of series which contain something new but which also retain part of the previous one. Change and permanence.

Recording of Antonio Alcazar Aranda's Transformaciones. The work has four parts. In Cristaux et noix; timbre evolutions of the material occur along its duration. Lethanie has minimal changes between melodic cells and small dislocations rhythms, which bring slow transformation. In Ondes rigides. certain flows and reflux are presented through rhythmic compressions and expansions united to a gradual opening in the pitch field. Finally, Dilatation, is a very slow evolutionary model which, accommodates itself to an ever wider sound space.

Recording of Kristi Allik's Skyharp: Eulogy for an elm tree part II. This work is for electronics and manipulated sound. There are many plucked string sounds, fragments of voice, wind chimes, bells, pre-recorded sound, and synthetically built sounds. The piece begin very atmospheric and slowly begins to introduce the instruments and eventually becoming sonically dense, then resulting to stillness.

Recording of Daniel Almada Abrazos. For cello, double bass, and electronics.

Recording of Javier Alvarez's On going on. For baritone saxophone and computer/tape. The piece puts forward the idea of ​​"out of sound" by juxtaposing the tempered saxophone played live with the computerized saxophone. The interaction between the two pieces ranges from minute changes in pitch to the clearly audible disagreement between them, especially evident in these sounds played in unison. This creates the evolution, sometimes with a tense atmosphere. This material is contrasted by percussive and rhythmic outbursts which in the context give stable harmonic cues.

Recording of Juan Amenabar's Cantiga en el umbral. For voice, pre-recorded instruments, and electronics.

Recording of Cèsar Amiguet Puig's Dimers liquids.

Recording of César Amiguet Puig's Kontinuum. This work was made for electronics.

Recording of Maria Francesca Ancarola Saavedra's Eolico 2. This work is for electronically processed voice and electronics.

Recording of Francesca Ancarola's Loop 2.

Recording of Elizabeth Anderson's Chat noir. This piece is the second work in a cycle of recordings based on the book "Owning Your Own Shadow - Understanding the Dark Side of the Psyche" by Robert A. Johnson. "Chat Noir" explores the paradox of opposition in the psychological reality of mankind. This work was created with the support of the ministry of the French speaking community in Belgium and is registered at S.A.C.E.M.

Recording of Elizabeth Anderson's L'éveil. This piece is the first in a cycle that explores the paradox of opposition in the sense of physical appearance as well as in the psychological reality of mankind. The piece concerns itself with the creation of the universe and its two poles. The idea of contrasts presented in the introduction are then developed on a larger scale throughout the rest of the piece.

Recording of Elizabeth Anderson's Mimoyecques. The piece consists of two sets of recordings and electronics. One set of recordings would be made in and around the fortress and would serve as the base where the imprisonment, death, and transfiguration themes would be built. The second recording is in the languages of the 18 nationalities of the laborers. The central section of the work illustrates the idea of terror freedom is suddenly, inexplicably removed. The final section explores the concept of the departure of the souls of the victims.

Recording of Joseph Lloyd Anderson's ChAnGE'S Music. A translation of the composer's words, from a letter to pianist Hadley McCarroll, illuminate that the composer tends "to think of ChanG E S Music as a phonographic fantasy because it plays out in each of Dellaria's three sound recording modes: Record-as-Document, Pseudo-Document, and abstraction. In order to really begin to understand him, I believe the listener needs to have an idea of ​​who [composer John] Cage is and why he is interesting. It is also useful to be aware of the Music of Changes, since the version edited by Wergo is the pseudo document with which my piece begins, and it constitutes one of the first 'silent' pieces of Cage (with 4'33''). It is about the need for the composer's ego to step aside before the music so that it can speak clearly. The pseudo document is fun because it allows us to make someone play what has never been played, and say what has never been said, while passing it off as a kind of auditory truth. Cage's opening text where he puts forward the beginnings of all this using recordings as instruments is actually taken from a statement explaining why …

Recording of Joseph Lloyd Anderson's In Mosaic. This work is for digitally manipulated voice. This piece explores the possibilities of electronically manipulating the voice and mouth sounds. The piece begins with a granular synthesis sound, taking tiny grains and layering them at different speed, phases, volumes, and frequencies. This same process is done for the mouth sounds, but the grains are further apart creating space and more transparency.

Recording of Joseph Lloyd Anderson's Kyai Pranaja. The composer gives thanks to the help of Simon Gray and David Malham, he also thanks Dave for his advice and instruction regarding Ambisonic theory and techniques.

Recording of Linda Antas' A river from the walls. This work was inspired by rivers, both visually and philosophically and the composer attempts to create an image of water condensing into a powerful river.

Recording of Linda Antas' Still, Yet, Again.

Recording of Nicolay Apollyon's Bass Organics. For electronics, processed violin, processed double bass, and live electronics.

Recording of Nicolay Apollyon's CellOrganics. For Cello and ISPW. This work uses the timbre of the solo cello extended through computer signal processing and synthesis. The instrument generates the electronic sounds in real time under the soloist's direct control, offering a wide range of sonic possibilities. The signal processing and synthesis include live sampling, real-time granulation and spatialization. The computer tracks the pitch and amplitude envelopes of the input signal of the cello.

Recording of Phil Archer's Kung Fu. This piece is composed entirely of source sounds taken from Chinese Kung Fu films and adopts the values and characteristics associated with these films. The composer's goal while writing this work was, while incorporating technique and valves commonly associated with electroacoustic music, to avoid or subvert obvious clichés of the genre.

Recording of Serge Arcuri's Errances. This piece is for oboe d'amore, harp, and tape. The first movement is the concept of representing the manner of a mirage. Within the second movement the musicians alternate to blend into the electronic soundscape. This piece is inspired by depicting the rhythmic and harmonic aspect of marine life.