Recording of Philippe Ménard's Rep-à-quatre. This piece is inspired by François Rabelais and his satire, grotesque, and bawdy jokes and songs. On a technical level, most of the sound material comes from samples of the texts (ASR 10 sampler) and the musical organization is managed by the MAX software, my improvising assistant.

Recording of Ulrich Süsse's Les Vusions. Rabelais' ideologies and visions are musically represented in this piece. This is done by building structures and walking away from them. The structures are taken from the sound (preferably from a precise vocal) and the continuation of the language of Rabelais. There is the use of everyday normal objects, but the technique of electronic transformation demonstrate direction and transition.

Recording of Georg Katzer's L'Oracle de la Dive Bouteiller. This work is for actors and tapes. The nonsense lyrics are taken from the wonderful "Gargantua and Pantagruel" by Rabelais. There is a very important use of space, the sounds are at times isolated to where you may hear two different sounds on both sides, instead of predominantly in the center of the stereo system.

Recording of Michel Redolfi's Songes drôlatiques. Audio and visual suite inspired by the "Drolatic Dreams" of Rabelais' Pantagruel. The sound production calls for two elements: the voice of Michael Lonsdale performing in unprecedented registers and bodily sounds produced by the dancers. Added to this are throbbing metal, creaking wood, gurgling liquids and any substance relating to Rabelais' sound environment. Thus, virtual flesh, mysterious pharynx and imaginary mechanics compose for the ear a nightmarish saraband where the excess is appropriate.

Recording of Jorge Rapp's Biosfera una. In this piece natural sounds which are playing all around us are combines with the human beings that reside with it. This environment is accomplished by using sounds from nature, animals, and people and our continuous soundscapes. Contrast and camouflage relations prevail, where human voices become the foreground; these encounters culminates with guttural animal sounds.

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 Elio Martusciello's Limite inferiore sinistro. The matter of elimination, that is to say the sound of the rustle of a magnetic tape, constitutes the acoustic nature of this composition. The sole use of a tape recorder-mixer as a sound generator, gives a sufficient result for the creative operation, and ultimately to the gesture of the component. In all this hides a subtle complacency, a game of perspectives where this plan relegated to the bottom at the musical level and pushed further with the advent of new digital technologies, is here recovered and invested with a new dignity.

Recording of Ron Averill's Painting legs on a snake. This work refers to an exercise in futility, which describes why the composer came to appreciate piano composition. Many literary works of the 19th century deals with the piano reflecting a dissatisfaction linked to the timbre of this instrument, which sparked questions about tonal modes and tone color. Rather than composing a tonal piece on the piano, modified already existing piano works were put through the NEXT computer and organized to create this work.

Recording of Kim Hedas' Good morning love, it's springtime in my heart! Although this piece's may give off a certain idea to the sound environment you would expect, the piece is harsh, contains unsettling sound, and unpredictable sound direction. With a very specific sound quality this piece explores the harmonies and the characteristics of metallic objects, sounds, or instruments.

Recording of Gliniak Bartlomiej's Neumo Progremodum. This work was composed in two stages: the beginning stage was creating synthetic sounds and the second stage would be electronically manipulating them. The technical processed includes digital sampling, digital sound synthesis, and electronic effect processors.

Recording of Juan Carlos Pampin's Apocalypse was postponed due to lack of interest. The title refers to an idea about the state of the art within the 19th century. Algorithms written with the COMMON LISP language controlled the rhythms and production of synthesis sounds to create different textures and densities. Sound generation techniques include: Karplus-Strong Modeled Attack, Additive Synthesis Generated Body and Filtered Noise Drop. The structure of the work is that of a continuous transformation where each object is condemned to mutate over time, these mutations take place in the short and long term during the piece.

Recording of Raul Minsburg's El otro Espejo. This work offers a type of action, sound, and in a sense, form of some works of the '50s and '60s made with analog equipment; but here made with recent equipment, digital and especially with a synthesizer having additive synthesis, which interferes with all the sounds of the work, including a kind of voice, at the end of the work. There are several sections that create a specific relationship of density, polyphony, and texture due to the interaction between these same elements.

Recording of Matt Ingalls' Silent Cacophony. "Silent Cacophony" consists entirely of manipulated vocal sounds through Barry Vercoe "C Sound". Originally for 4 speakers, it was mixed to stereo with binaural filtering from Tom Erbe "SoundHack". The pre-recorded audio includes unprocessed coughing that with time slowly begins to become electronically manipulated until the sound begins to create harmonies and new interactions.

Recording of Karl Friedrick Gerber's Beautiful Numbers. The work is a result of the composers experiments with algorithmic composition written with the "GFA Basic" language. The real-time improvisation program is controlled or "conducted" by altering numbers of preselected so called discrete vectors. These vectors represent states in the space of sequences formed by counting integer values in cycles. Various midi events are generated to control the sound modules. The piece was concerned for dance improvisation and has a very smooth flow with a mood of simple beautiful structures and intervals.

Recording of Pierre Sainte-Marie's Scuz. This work designates a vagrant in a particularly dilapidated state and who is reluctant. This piece is therefore, dedicated to the itinerant, to those who lose themselves more and more because of society. The work contains varying melodic motifs and repetitive rhythms. The inspiration is from American Jazz music and Funk, which is represented with electronical built sounds.

Recording of Marcelle Deschênes' Les Vagues. This work is for voice and electronics. It is inspired by excerpts from Virginia Woolf's novel "Les Vagues". Moments of being of human are brought together haphazardly by the imagination of an old man. During the evening solitude, reflecting memories of incoherent and fleeting images from privileged moments of his life being to play and sensations emerge. This work represents a new stage which has been crossed; awakening the last rise of an endless fallout.

Recording of Augusto Valente's Triptyque pour I'avenir. This composition is for tape and based on the poem L'Avenir by Henri Michaux. The words being transformed beyond recognizability are the main factor of this piece. The challenge posed on the composer was to explore the boundaries between the text and using electronics to portray the text. There is a outlining of language occurring in the beginning with stuttering. Then with time the electronics use of manipulation create a journey of sound alteration.

Recording of Nicolas Vérin's Rhapsodie parisienne. This work uses texts taken from "Spleen de Paris" by Charles Baudelaire. The reciter is the guide is the base of the piece and the speech: is hammered, stretched, stopped by rhythms based on a pulsation, and synthetic sounds. Translated antagonisms reflect contrast: presence/absence, natural/artificial, melodic/noise, near/distant, as well as by contrasts of style.

Recording of Edmund J. Campoin's Losing touch. This work is for vibraphone solo and tape. The use of a pre-recorded vibraphone samples allowed for additional instruments through analysis and re-synthesis with the aid the IRCAM program. Then with the use of the Mosaic program, 50 tuned drum were created. The second aspect of the composition used Patchwork to isolate all of the numerical sets made from factors of 120. There numerical sets are used as durations. Additionally, Patchwork is used to analyze the database and isolate sets where the circular permutations of a rhymical placement and pre-designed harmony.

Recording of YeeOn Lo's Duo concertant - le conte du troubadour. This work begins with a highly theatrical noisy environment. Throughout the piece the music transforms from layered, mobile imaginary to a soft, introspective soliloquy on the piano melding into a meditation about nature. The beginning plucked-string sound are derived from samples. All the other sounds, except the piano, are digitally synthesized.

Recording of Rodrigo Cicchelli Velloso's Cymbal: reminiscencia. The piece is divided into two movements: Ostinato and Reminiscences. The first begins with a repeated phrase, performed by a pair of cymbals, punctuated by strong attacks. As this short talk progresses with the cymbal intervention becoming hectic and irregular, the initially limited spatial perspective widens when the first cymbal strike occurs. As the piece develops, new sounds enter the scene, interacting with each other and creating a dense musical texture. One of the important characteristics of the piece is the simultaneous exploration of different materials with very particular and contrasting spatial behaviors.

Recording of Mathew Adkins' Clothed in the Soft Horizon. The work presents a communitive interaction between electronically built sounds and the original unprocessed sounds, which are modelled after water droplets and the motion of a wave that builds, crashes, and breaks. This use of processed and unprocessed sound is the overall bas of the work and also the Spectro morphological design of many of the individual sounds. Overall, the work is both a physical representation of the flow and motion of the water and a personal response to it.

Recording of Simon Hall's Hit me! The main body of the piece is in two sections. The first is based on stretched and transpositions of the number of vocal and instrumental gestures, and the second is intentionally more abstract and less obviously derived from the source material. These sound materials derive from James Brown song samples. Then, the samples are developed using a variety of digital techniques to create an electroacoustic sound environment.

Recording of Paul Geladi's 888: Acht minuten achter acht netten vissen. This work is for 8 mono soundtracks, supplied as 4 stereo pairs. The soundtracks are in finished form and should be mixed according to a set of instruction given by the composer, on an 8 channel mixer to stereo or quadro configuration loudspeakers. The piece is for live performance. The 8 mono tracks are to be reorganized in 2 groups of 3 and 5 tracks each and the tracks do not have to start synchronously, allowing for an incredible amount of performance interpretations.