Recording of Maggi Payne's Phase Transitions.

Recording of Thomas Bjelkeborn's Bilad.

Recording of Reed Holmes' Electric Symphonies.

Recording Eduard Artemiev's Impertire Tempus Cogitation.

Recording of Eduard Artemiev's L'Océan.

Recording of Jan Pascal Alagna's News.

Recording of Unsuk Chin's Gradus ad infinitum.

Recording of François Bertrand's Étude aux Vibrations.

Recording of Allen strange's Cygnus for environment-driven computer music system.

Recording of Spiros Faros' Fantasmata Ke Xotika.

Recording of Lazaros Ioannidis' Flower of Age: The Graduation of Discobole the Lesser.

Recording of Sten Hanson's Déclaration des Droits de l'Homme.

Recording of Amnon Wolman's Images. it is a work for oboe and tape, and is about the composer's and the oboist's relationship to Heinz Holliger. The composer is the oboist in this recording.

The piece was composed for the yearly convention of The International Double Reed Society meeting in 1989. It was premiered at The Royal Northern Conservatory of Music in Manchester, England in August the same year. The music is performed by means of the live electronic instrumentation that Jan Wiese has developed within the Stilleben Project. This set-up of electronic instruments have been the basis for several pieces he has composed and performed over the last 3 years. As the title of the piece implies, the traditional Indian raga has been an inspiration for creating this composition. Firstly, the piece is created in a very spontaneous style and the melodic material is quite freely laid out. Secondly, the large form of the piece resembles a raga as it rises in intensity very slowly and go into a rhythmic climax. Some of the sound elements also come close to Indian music, for example the "tampura-drone" and the wah-wah muted oboe. The oboe part include extensive use of long and short glissandi - a technique that the performer has developed to range over the whole compass of the oboe. As most of Jan Wiese other music, the piece have a very open solo …

Recording of Christian Calon's Immémorial, part 3 of Midnight, acousmatic staging in three parts and seven fragments.

Guest recital performed at the UNT College of Music.

Recording of Eric Cordier's La Ligne, La Corde. It is for voice, string instruments using contemporary techniques, and electronics.

Interview with Helen Caitlan, where she discussed her life experiences and viewpoints.

Interview with Elizabeth Canada, discussing her life experiences and viewpoints.

Created in the Electronic Music Studios of Simon Fraser University in Vancouver, Canada with the PODX system of granular sound synthesis of prof. Barry Truax. C.S. went there as an "invited composer" after his award in Bourges.

Recording of Arie Shapria's Upon the Ruin of Ophra. This work uses eight different recorders which sonically consist of old Israelite songs, treated by an analogous technique, using noise gates, a vocoder, and the pitch to voltage of a synthesizer.

A guest artist recital performed at the UNT College of Music Concert Hall.

Recording of Claudio Ambrosini's Il satellite sereno. This piece revisions how early electronic music utilized certain sounds. The beginning white noise is used as a time marker. Then, it closes with an unexpected minimalistic section. The marimba transforms its timbre to eventually become the white noise heard at the beginning.

Recording of Bernard Fort's 12 haiku pour la paix céleste. This piece is for 12 haikus for celestial peace. Haikus are very short Japanese poems which with reading, demonstrate the way of photography, as moments, sensations and feelings. There is a wide variety of both synthesized sounds and manipulated samples.