Recording of Henri Heuze's Le sacerdoce et le curé d'Ars.

Recording of Raul Minsburg's La huella de Vincent. This work was created from small fragments which are related through sound material, texture, and tempo. These sections are not clearly presented because they are superimposed fragments. Therefore, it creates an evolution of the piece, one with a lack of direction, but anticipation.

Recording of Larry Austin's Accidents two: Sound projections. For piano and computer music. This work extends and substances the original compositional and real-time performance approach from an earlier work. There is an open form, invoking highly evolved improvisational formats and extends the musico-technical resources from the live electronics piece towards hypermedia and subsumes the actual sounds from the original work.

Recording of Carlos Cerana's Minimax. For marimba and saxophone.

Recording of Bruce Mahin's Time chants I. Los Angeles. This work is written for Yamaha WX11 wind controller, Macintosh computer, videotape and synthesizers. Written in response to the events leading to and including the Los Angeles riots in the Spring of 1992. Many forces are heard, different hierarchical levels in the public community, violent outbursts, as well as meditative reflection which must accompany any such collective action. Striking chords in quick succession at the beginning of the piece recall the beating of Rodney King. Chordal outbursts occur later in reaction to the flailing he received at the hands of police.

Recording of Ragnar Grippe's L'arbre égayé. The title, "L'arbre égayé," refers to "the cut tree," but the composer does stress that it also means "the reviving tree." This reference to a cut tree is intentional as a tie-in and homage to the composer's experience (20 years prior to the composition of this piece) at Groupe de Recherches Musicales de l'ORTF in Paris under the direction of Pierre Schaeffer. As Grippe explains: "This piece - without any overambitious zeals - is a hommage to the school, where I think I got my first real knowledge of electro-acoustic music. Why cut? A tree which has been cut, is not dead, but can now grow even more beautifully after it's been mended. I think that the composer somewhat always composes the same piece, only the refinement gets more and more articulate throughout the years." Regarding technical aspects, the sound sources - from Synclavier and MIDI-modules - are mostly custom-made, with an aim to get an electro-acoustic "object-sensitive" character, much in the philosophy of GRM. The piece is to a certain extent recorded with RSS (ROLAND SOUND SPACE), which the composer discusses as enabling the sources to exist in a virtual space, extended above …

Recording of Jean-Luc Therminarias' Les songes drolatiques de Pantagruel. For electronics, voice, and acoustic instruments.

Recording of Jon Christopher Nelson's Waves of reflection. For guitar and tape. This work contains sonically visual illusions of light waves refracted through water. The guitar refracted by the computer-generated tape sounds altered and mutable. At the beginning, the tape replicates the guitar. However, the tape quickly undergoes a metamorphosis, becoming more unusual as the composition unfolds. The guitar also presents material that changes from nervous and disjunct figuration to more lyric lines.

Recording of Roger Doyle's The stairwell. For violin, pre-recorded voice, and electronics.

Recording of Pierre Sainte-Marie's Irréelle.

Recording of Paul Dolden's Physics of seduction, invocation #3. For cello and tape. This work explores different styles of playing and cello performance. There is an additional element of rapid change within amplitude and sonic density.

Recording of Rodrigo Cicchelli Velloso's Latitudes emaranhadas (entangled latitudes). For cello and electronics. This work uses electronically built sounds with both unprocessed and electronically manipulated sound to create dialogue to accompany the cello. The cello also uses contemporary technique and plays within many different ranges, styles, and volume.

Recording of Kiyoshi Furukawa's Dressed in... This work is for piano and electronics. The electronics in this piece allow for multiple piano recording are happening simultaneously and the piano is full of energy and density.

Recording of Roderik's De Man's Momentum. This work is for bass clarinet, harpsichord, and tape. The meaning of the title refers to "impetus gained by movement" and how sound can not only suggest musical movement, but physical as well. The tape is made up from the instruments designed in the studio.

Recording of Lothar Voigtländer's Sondfile 1 - ...X. The tape contains only the original sounds of the harp, which were stored as "sound files" in the computer. With the specific possibilities of digital sound processing, it was then cut, mixed, transposed, modulated in many ways and re-collaged. Corresponding to the playing characteristics of the harp, such as bisbigliando, glissando, with cymbal, with rubber mallet, plucked with fingernails, other timbaliques, etc.

Recording of Roberto Doati's Donna che si copre le arecchie per proteggersi dal rumore del tuono. This work is for flute sounds, synthetic sounds, and live electronics. This work is divided into three parts and uses many techniques: slaps, jet whistles, roaring, timbral trills, multiphonics, and tongue rams. The computer is use to modify the original sound, the flute is processed through stretching, compression, and pitch transposition.

Recording of Roberto Valera's Palmas (Palms). This work is for voice and electronics. This work contains spoken word, electronics, field recordings, and pre-recorded sound. The work has a more mysterious sound environment and differing electronics sounds complementing the speech.

Recording of Marco Ligabue's Circles - suite de Marseille.

Recording of Roger Doyle's Alphabet. Electroacoustic composition utilizing low environmental sounds, more prominent electronic sounds in both fragmented and extended forms, and exploration of stereo effects for different sounds at certain points within the piece.

Recording of Robert Normandeau’s Tangram. This piece is dedicated by the composer to Francis Dhomont. This piece consists of six distinct sections: 1. Opening of the Zipper; 2. Spring (Water and Glass); 3. Summer (Fire and Paper); 4. Autumn (Earth and Wood); 5. Winter (Air and Metal); 6. Closing of the Zipper. Tangram is also the name of a Chinese puzzle consisting of seven fundamental geometric forms from which one can reconstruct existing patterns, or create new configurations. This work is inspired by the spirit of the game, the ability to associate and combine simple elements to form recognizable complex structures, recognizable because of the very figurative representations. This piece is part of the “cinema for the ear” opus, a cycle of work undertaken and developed from 1990-1993. The entire cycle was conceived for multitrack presentation. The methods devised in the studio permit the playback of each track (recorded on 16-track, 1/2 inch, Dolby S) on a separate loudspeaker, without having to retouch the levels or the equalizations. Mixing, therefore, is accomplished acoustically and not electronically. The spatialization of the sounds in an integral part of the composition, and thusly the performance space serves to delineate the sonorous parameters as …

Recording of Fernando Pablo Lopez Lezcano's Three Dreams. This work is for quadraphonic tape. This piece is inspired by impossible dreams and consists of three movements: Paper castles, Invisible Clouds, and Electric Eyes. The piece was composed in the digital domain using the CLM non real time sound synthesis, processing environment running on a NeXT, four channel spatialization, performed by a special unit generator. The processed sound materials are sampled tubular bells, cowbells, cymbals, gongs, knives and screams and the synthetic sounds are rendered through quite simple additive synthesis instruments.

Recording of Richardo Nillni's Veladuras. This work is for flute and electronics. The flute part uses varying extended technique and is intergraded into, both the electronics and tape parts.

Recording of Paul Dolden's L'ivresse de la vitesse. This begins very dynamically with dense electronic sounds, a chorus, and instruments. Use of texture is crucial within this work. There are moments where the chorus is singing complex harmonies and the electronic sound are very dense; or times when there is very transparent texture and the sounds are isolated. This work explores sound, space, and dramatic musical change by combining electro-acoustic technique and acoustic instruments.

Recording of Gerald Eckert's Aux mains de l'espace. The various processes generated in this work appear in different states at different points in the piece and will be integrated into their respective temporal environment. Generated sound points are given independent, audible sound movements within an acoustic space, and create a spatial-perspective quality. This is achieved through special distribution over the loudspeakers and through a diminishing echo. An integral part of the composition process is in the analysis of the intended formal and aesthetic conception and the sound results of the Synlab.