Recording of Pierre Mariétan's L'eau sourd, bruit, chante. This is a work for electronics that includes sounds of water.

Recording of Christian Zanési's Profil - Desir. This is a work for electronics. When describing this piece, the composer included a quote from Alfred Hitchcock.

Recording of Damian Roskill's The kubrick suite. This is a work for electronics that includes English spoken word and distorted voices.

Recording of Steve McCaffrey and François Dufrêne's Les accords d'Helsinki. These pieces are part of a suite for electronics. Sound materials include vocalizations and spoken text.

Recording of Nicole Lachartre's Le jardin du village des sables blancs. This is a work for electronics that was inspired by the garden, Hakousasondo, in Kyoto.

Recording of Ricardo Mandolini's Cancion de Madera y Agua. This is an electroacoustic piece that was created with concrete sound materials. These materials include water and wood which are represented by means of two different musical propositions.

Recording of John Celona's Possible Orchestras (At the 21 st Harmonic). The sound material for this composition was produced using several FM synthesis techniques. When listening to the piece, high regions of formants are obtained when compared to the frequencies at which the fundamentals are placed. Periodic vibrato is used to modify pitches across the entire width of the harmonic spectrum.

Recording of Brina Jež-Brezavšček's Orpheus. This is a work for bass clarinet and electronics that includes other instrumentals. It was commissioned by the Zagreb Music Biennial and was performed by multi-instrumentalist, Ratko Vojtek. This composition was based on reminiscences about Orpheus' figure removed from the past and put in a contemporary setting. Despite this, the music still depicts the classic story of Orpheus.

Recording of Raoul Pavon's Fantasia Cosmica. This is a work for electronics.

Recording of Eduardo Pérez Maseda's Take me away. The axis of this work is a text by the Italian writer, Italo Calvino. This text was taken from the novel, "Il barone rampante", and includes both English and Spanish.

Recording of Yves Daoust's Ouverture. This is a work for electronics.

Recording of Yves Daoust's La gamme. This is a work for electronics.

Recording of José Augusto Mannis' Duorganum II. This work was commissioned by the Biennale Internationale d'Art de São Paulo and was composed for violin, double bass, and live electronics. This piece was written for the show: Puce Muse II (1989) - Espace Musical: Serge de Laubier, Rémi Dury and J. A. Mannis.

Recording of Wilfried Jentzsch's Paysages V. This work is part of a series of works called the "Paysage Cycle" which are pieces for solo instruments and tape. This work focuses on the violin and explores the different interactions between the violin and tape.

Recording of Wilfried Jentzsch's Paysages G. This work is a result of research on gongs and the composer describes it as a cultural bridge between East and West. This work includes two structures: the Javanese Pelog tuning range and the Javanese Slendro tuning range.

Recording of Barry Truax's Beauty and the Beast. This work is for narrator who also plays oboe d'amore and English horn, computer images, and two computer soundtracks. The computer graphic images and text were created by Theo Goldberg. This is a modern retelling of the traditional story of a young girl's voyage of self-discovery through her encounter with the Beast in the enchanted castle. This version of the story is a modern interpretation as suggest by Bruno Bettelheim in his 1976 book The Uses of Enchantment. Beauty and the Beast was commissioned by oboist Lawrence Cherney for the Musical Mondays series of young people's concerts, with the assistance of the Laidlaw Foundation and the Music Section of the Canada Council.

Recording of Georges Boeuf's Les filles du sommeil. This work was inspired by several paintings by Gustav Klimt which depict women according to the expression, "sleeping beauty". The composer has segmented this work into 4 movements: 1. Pluie d'or, 2. Écran de Nuit, 3. L’œil Profond, 4. Éloge de l'Apparence. This work has been dedicated to Rapha'l de Vivo.

Recording of Richard Dudas' Rhapsody.

The composer states: "Often the relationship between art and science is obvious. Not only on the technological level but also processions of thoughts and themes are often reflections. Contemporary ideas about chaos tell us of the immeasurably immeasurable consequences of everyday actions that may be generated by complex and incontrollable situations in the end. The masses, formed of structures of sounds and music often show me connections to these thoughts that are remarkable and I can be struck by the poetic force that they generate because of the causal and continuous relationships, despite the fact that it actions that are of a very accidental nature. In this music I tried to group these elements and to build a sound tissue that spontaneously generates a sense of openness and harmony through the construction of individual algorithms. By exchanging mutual sound characteristics but of different formats, a convergent evolution of 192 individual voices takes place to a precise position in the spectrum of an octave, developing a dense, living and compact sound layer."

The composer writes: "I feel that there is an evocative relationship between oboe and soprano saxophone. The oboe is an instrument with considerable history and has a powerful expressive ability to conjure and invite. The saxophone is a more modern instrument which can connote a sensuous, improvisatory music. In Reflective Image I have addressed this relationship. The oboe begins the piece, inviting the music. Through the course of the work the two instruments investigate their own sound potentials, both of tone and various noise elements. The two merge in complex interweaving, leaving the saxophone to reflect and complete the piece, releasing the music. The relationship of the two instruments is amplified and further explored by the music on tape. The tape consists entirely of sounds generated by the two acoustic instruments. Michael Ericson and Tridib Kumar Pal provided the original material for the oboe and saxophone sounds respectively. By using these instruments as sources for the music on tape a kind of integration is established between and among all of the sounds of the piece. There is an essential aspect of overlap and interaction between the electronic music and the acoustic music. Each of the three instruments develops the elements …

Recording of Klaus Roder's Voice Dance. The piece consists of eight different patterns. The patterns are made by a small group of separately sung and recorded tones that have been put together. Each pattern has a fixed musical structure with a typical rhythm.

Sud was commissioned by the Ministry of Culture, on the initiative of the GRM (INA Musical Research Group), where the play was performed in 1984-1985. The piece mainly uses sounds recorded in the Calanques massif, south of Marseille, and also sounds synthesized by computer in Marseille. These sounds were processed by computer at the GRM, using programs developed by Benedict Mailliard and Yann Geslin. The piece was performed on 4 tracks - the 2 track reduction was done for CD recording. At first, and by the moment, the piece is presented as a "phonography" - but sounds are usually altered by digital transformations. Thus the dynamic wave profile, which opens the room, permeates the three movements. The piece is built from a small number of "germinal" sounds: recordings of sea, insects, birds, chimes of wood and metal, short "gestures" played at the piano or synthesized at the computer; I made this material proliferate by combining various transformations: modulate, filter, color, reverberate, spatialize, mix, hybridize. Cezanne wanted to "unite curves of women with shoulders of hills": similarly, the crossed synthesis makes it possible to work "in the very bone of the nature" (Michaux), to produce hybrids, chimeras - of birds and …

Recording of Annette Vande Gorne's Tao, 4ème élément: Métal. Tao is a four-movement work, inspired by Taoism. The four movements are Eau, Fea, Bois, Métal, and Terre. This recording only contains the fourth movement, Métal, in two different versions. These versions include the original 1983 version with electronics and percussion and the 1984 version with amplified zheng, percussion, and electronics.

Recording of Joris de Laet's Khene dimensioned II. This work is for magnetic tape, and uses sound recorded from the khaen, a mouth organ from Asia, used heavily in Laos. 6 instruments were used. There are four parts to this work.