Recording of Peter Dudak's Ash. Tape music for flute, cello, percussion, and violin.

Recording of Larry Austin's Djuro's Tree. Octophonic computer music. Djuro's Tree is centered around a family portrait of three generations. The story is set in a dynamically moving octophonic "family" tree of sound. The sounds of the tree's limbs creaking and rustling were taken from the BBC Sound Effects Library. The creaking limbs are a recording of a squeaking wooden chair. Software and hardware systems used in Birmingham included Sound Designer, SoundHack, Audiosculpt, Csound, and GRM Tools, on a Macintosh computer.

Recording of Ignacio De Campos' Expassvm. This piece explores the idea between corpuscular sounds and "timbre-harmony" sounds, as well as polyrhythm.

Recording of Richard Loiselle's Toundra. This work is an homage to the Inuit, a Northern Canadian indigenous group, and the hardships that come with living in the tundra. The composer uses recordings of the Inuit's specialized throat-singing called "katajjait" throughout the work.

Recording of Victor Hernandez's Naturaleza impura para masas escepticas. This work captures a complex discourse based on the principles of concrete music. The composer used hundreds of microphones and multi-track recording techniques, as well as several hybrid processes to enrich the dialogue throughout the piece.

Recording of Martin Neukom's Studie 12.2.

Recording of Gary Berger's Im selben Raum. The composer equates this work to the concept of objects in a room with a constant changing of visual angles and lighting to bring new items to the foreground. The idea that for the onlookers nothing remains equal.

Recording of Jarmo Sermilä's Il mondo assurdo del signor B. For voice, electronics, strings, and percussion.

Recording of Pierre Jodlowski's Dialog / N Dialog. This piece is described as being a bit like a theater duet, with two situations and two actors. The DIALOG portion refers to when there are two characters on stage with figures interlacing. Within DIALOG are semblances of games of seduction and balances of power; tensions and reconciliations in the spaces of gestures and timbres. The NO DIALOG portion, in contrast, involves withdrawal into oneself, inner dialogue, fragile simultaneity, and - sometimes - the impossibility of "being" together. The protagonists of Dialog / N Dialog are the flute and voice, with the flute characterized as on stage, quick, talkative, tender or violent. The flute part involves games of timbres from sound to breath, games of registers and speeds, tension of writing, and electronic transformations for a projection in space. The voice, virtual, in its loudspeaker appearances, is whispered, sung, spoken and articulated via studio manipulations; it multiplies, metamorphoses into dynamic phenomena, induces a harmonic field (song) and seeks, more than anything, rivalry and its own autonomy. Dialog / No Dialog was produced with the technological means of IRCAM (signal processing, synthesis, real-time transformations) and was created with the financial support of the …

Recording of Etienne Saur's La vague. This work was created for a choral dance created as part of "la Fête dans la ville" and in collaboration with the dance class of the CNR of Amiens. This composition used the movement notation system called kinetography invented by Rudolph Laban.

Recording of Michele Biasutti's Tavola VII. For string trio and signal processing. This work is one of a series of pieces called Tavole in which the timbre and dynamic possibilities of the musical instruments were studied. Tavola VII, nicknamed “of the sequences of harmonics”, utilizes the sound possibilities that the string instrument. The aim is to work into the sound, directly modeling the acoustic material.

Recording of Germán Toro Perez's Aire. This recording consists of two movements for tape: I. Aliento and II. Humedad. The composer used material from the piece "Stichwörter" by Georg Riedl, which consists of live bass clarinet and electronics. The main interest was to explore the transitions between noisy and harmonic sound.

Recording of Luigi Ceccarelli's Tupac Amaru. The composer describes this work as a musical opera based on a text by Gianni Toti with all vocal parts attributed to the voice of Giovanna Mori. This work was premiered at "Europa Festival" in Ferentino, Italy. The original pre-recorded tape is divided into 8 tracks (ADAT format).

Interview with Robert H. "Hal" Jackson regarding his experiences as a Navy fighter pilot in the Pacific Theater during the Second World War. It details his experiences with different aircraft and on carriers and in land-based squadrons in the Pacific.

Transcript of an interview with Louise Pearsall Canby, a Navy veteran from Elgin, Illinois, concerning her experiences as a member of the WAVES during World War II. Canby discusses her personal background, her decision to join the Women Accepted for Volunteer Emergency Service (WAVES), and her experiences as a code breaker working with Enigma and German submarine codes. Includes appendix that consists of various photographs and two documents, [5] leaves.

Transcript of an interview with Anne Pearsall Karr from Elgin, Illinois, concerning her experiences on the home front during World War II. Karr discusses her youth in Elgin, Illinois; effects of Depression on Pearsall family; college at Iowa State; courtship with Kenneth Karr, her future husband; reaction to Japanese attack at Pearl Harbor; changes on Iowa State campus after American entry into World War II; wartime rationing and Victory Gardens; effects on Pearsall family having a son and daughter in military service; her marriage to Kenneth Karr, early 1944; housing shortage in Corpus Christi, Texas, during World War II; birth of their daughter; wartime entertainment; experiences as a military wife; attitudes toward the Japanese; husband's training as a naval air cadet at Corpus Christi Naval Air Station. Appendix includes various photographs [5] pages.

Recording of Rainer Bürck's Flautando. For flute and computer. Voice-to-Midi interface makes it possible to transform the playing of the performer into Midi data. These Midi data are being processed on four independent layers, then controlled by a sampler. There is a variety of different processing: pitches and velocity, delay, a played note can trigger many other notes etc. Each of the processing parameters can either be exactly determined, or it can be defined as a specific random interval within which the processing will be carried out.

Recording of Butch Rovan's Continuities II. "Continuities II" represents together with "Continuities I", a long essay exploring interactive electronics using gestural controllers. The piece was conceived as an extended response to a short poem, A.R. Ammons, the poem moves into the background as a structural framework for the piece. Here the clarinet accesses a real-time sound world solely through movement of the clarinet, as the gestures of clarinet performance become a new language of timbral exploration.

Recording of Jean-Louis Poliart's Comme une feuille tombe... This work was the starting point of a double compositional approach which takes the form of a duet for oboe and bass clarinet on the one hand, and the present electroacoustic piece on the other. This work is freely inspired by the text, combining the notions of stasis, mobility, reflection, confusion and oblivion.

Recording of Johannes S. Sistermanns' Just and thongs. For two voices, house, sink, shower, radio, tv, train, Robert Fripp, keyboard, and telephone signal.

Recording of Fumitake Ohnaka's A C 2. All of the sounds within this piece were modulated by A-Life algorithm. The sounds consist of: comb filtered noise, FM synthesis, sine waves, samples humans voice, piano tone, and nature sound. Then, these sounds were re-synthesized using Csound techniques, convolution, granular synthesis, and phase vocoder.

Recording of John Young's Time, Motion, and Memory. For electronics and pre-recorded manipulated sound.

Recording of Paul Geladi's Feelings and relationships. This work is made from samples including acoustic and electronic instrument improvisations, which have been electronically processed.

Recording of Rajmil Fischman's Barren lands. The structure of this work is modelled on the periodicity of surf, consisting of repeated series of waves of increasing size and power. When the most powerful wave is at peak, the cycle begins again. There is one cycle made of three waves which are preceded by an introduction and followed by an epilogue. Each wave begins with the thinnest of sounds, builds towards a climax and, finally, dissolves.