Sentences was composed between November 1990 and January 1991 to a commission from Nicola Walker Smith with funds made available by the Arts Council of Great Britain. It is for solo soprano and live electronics (two signal processing units and sound projection). The work is essentially for two performers, the live electronic part being detailed and exacting. Texts were chosen from Whitman (an extract from "Passage to India"), Thoreau ("Woof of the Sun") and Shakespeare ("Full Fathom Five" - more accurately a deconstruction/reconstruction of this poem). The vocal material for the fourth song was constructed from isolated elements of the previous three, largely abstract and unrecognizable, fragments of words reordered and reassembled. The work seeks to mediate several "poles": the obvious onomatopoeia linked to word association - "mimesis" - with the more abstract demands of electroacoustic sounds and their combination. So the cycle moves from the declamation of the Whitman - an influence on the Futurists and hence the lettriste tradition - through the symbolic impressionism of the Thoreau to the increasingly fragmented "deconstruction" of the Shakespeare, in which single words conjure up whole images, to the final dissolution into "semantic noise" (Berio's phrase). Sentences was written specifically for the …

Recording of Sani Nicola's, Percorsi Ondulati. This piece is inspired by the picture Sentieri Ondulati by the American painter Jackson Pollock, hosted in The National Gallery of Modern Art in Rome. There is a biographical sense in the meaning of the title and the composer. This piece utilizes sound from flute from ancient Dervish music, the voice of John Cage, and electronic sounds reproducing percussive sounds. These sources are repurposed and represent recurrent thoughts in the composition.

Recording of Gyula Pinter's, In the confine of time. This piece is eerie and mysterious. The samples used are combined to create an unsettling atmosphere. Throughout the piece voice, loud interrupting samples, sound processing, and dark ambient tones; are combined to take the listener through a musically gestural journey.

Recording of Katharine Norman's In her own time. In this piece the speaker discusses memories concerning her life in London during the Second World War. Aspects of time and recorded sound replayed and transformed in the present, sound recorded on location, places, and people as they are now and were then also an important feature of this aural documentary.

Recording of Rafael Leonardo Junchaya's Piedra des Qosqo. There is an array of sounds including orchestra, strings, sampled voices, animals, TV shows, percussion, operas, and more. This piece has a comedic feel to it, as the music intensifies there is high pitched giggles and segments of TV shows. Overall this piece blends all these different sound sources to one cohesive work with some humor.

Recording of Katharine Norman's Trying to Translate. In this piece, the polarity between the instruments and tape is explored. During the performance the piano is processed live to enhance independence. The instruments used are tape, piano, voice, and electronics.

Recording of Francis Dhomont's Figures de la nuit (Faces of the night). This piece is about dreams and the concept of one's existence within the night. There are samples of voices, sine tones, nature, and electronically built and/or manipulated sounds.

Recording of William Brunson's Inside Pandora's Box. Formally, Inside Pandora's Box is an attempt to apply film/video editing concepts to the structure of music. Various scenarios are "set" complete with music, dialog and effects and are woven together. Equipment used: Yamaha DX7 II, TX802, TX81Z, Alesis HR16, Akai S1000, Yamaha SPX 1000 and DMP7, AMS RMX 16, Lexicon LXP1 and LXP5 with MRC, MCI JH600, Yamaha DMP7, Dyaxis and Technics DAT SV350 recorders; and Macintosh, MacMix, Sound Designer, Alchemy Performer, Opcode DX/TX editors for computer's and software.

Recording of Yves Coffy's Ys. This piece is structured around two poems, one read by Jean-Pierre Niogret, "Beautiful City", and the other read by Mohammad, "Charnel-House Vertigo". In the first section, the timbres and the colors are organized around the first text: it overflows with the complexity of rumors, of savors, of secrets, and is progressively wound about by the second text in the language of Mohammad. In the third section, a sort of deep spatial envelope is obtained by the extreme slowing down of vinyl records, and then mixed. This symbolizes the silent crossing of the Medium.

Recording of Vladimir Komarov's Freedom.

Recording of Warren Burt's Talking Greek Theory. This composition is a piece for unamplified voice and computer-controlled synthesizer. In this piece there is a improvisation of the composer speaking about ancient Greek tuning and the voice is going into a pitch-to-MIDI converter. This pitch information is processed by a program that tunes the synthesizer so that it maps 12-tone MIDI output onto one of the 7 tone scales of the ancient Greeks. Additionally, the program also delays the pitch information, so that the same pitches and rhythms can repeat several times, adding a level of counterpoint.

Recording of David Sheppard's The question of being. This work is for tape, which contains three sections. The sections are taken from a larger electroacoustic work, "The Humorless Puzzle", which helps link transformations between the present and past work. Section one considers the question of being. Section two look at the process of man regardless of the question, Finally, section three reflects upon consideration and progress. The sound were used by making electronically processed sounds.

Recording of Jack Body's Barbe à Papa (Arum Manis). The original recording forms the basis of the tape and is the sound of a two stringed fiddle played by an Indonesian seller, recorded by the composer in 1977. Carrying the already made candy floss in a bin from his shoulder the seller played the fiddle to advertise presence. The music was both improvisation and sometimes recognizable tunes, and consisted of a melody.