Recording of Mathew Adkin's Pagan Circus. For electronics, manipulated voice, and pre-recorded sound. This work is based upon two sources: the poem Pagan Circus by Rose Dodd and the circus paintings of Frantisek Tichy (1896-1961).

Recording of Mihail Afanasiev's The Circle of Existence. This is an opening of the new way of the author's expression. The syntheses of instrumental and studio thinking and the use of synthetic instruments. The fragment of the quartette of the composer V.Belyaev, with whom the composer studied with in conservatory, is used in composition.

Recording of Judith Akoschky's Mural. This piece gives homage to Pierre Schaeffer. The "Sound Paintings" are works of Evocación Sonoras that the composer has created with children and with teachers; the sounds are produced with everyday objects that called "Cotidiafonos".

Recording of David Alarcon's Oublier Pierre. This is a work for electronics.

Recording of Antonio Alcazar Aranda's Materia: Piedras. The starting point for its realization is twofold. On the one hand, unique sound material is produced by the collision of two stones; on the other hand the composer took from number three and four as computer nuclei or speech generator, a decision that will have implications as much at micro level as structural macro. From the point of view of crossing, the work offers a certain minimalist treatment of material: repetitions of series which contain something new but which also retain part of the previous one. Change and permanence.

Interview with Navy veteran Jean Balch, including Balch's personal experiences about the Pacific theater, being a prisoner-of-war of the Japanese during World War II, boot camp, radio, radar, and gunnery school, operations during the Leyte invasion, missions over Luzon, and raids on Japanese installations on Formosa and Saigon, French Indo-China. Additionally, Balch talks about his plane being shot down on a raid to Hong Kong and his capture on January 16, 1945, interrogations and beatings by the Kempei-tai, imprisonment at Ofuna, Honshu, solitary confinement for six months and continued interrogation, beatings by Japanese prison guards, starvation diet, the end of the war and liberation, and his participation in the war crimes trials held by the International Military Tribunal.

Interview with Lanson B. Ditto, clothier and Navy veteran regarding personal experiences about the Pacific, Atlantic, and Mediterranean Theaters during World War II. Ditto talks about his education, enlistment in the Navy V-7 Program, midshipman training, assignment to the USS Langley, pre-war duty in the Philippines, coming of war and combat around the Philippines and Netherlands East Indies, the sinking of the Langley and his transfer to the USS Pecos, the sinking of the Pecos and his rescue by the USS Whipple, various naval battles and assignments, antisubmarine patrols off the Solomons, various escort duties, and his promotion to captain of the O'Toole.

Interview with William J. Fisk, a Navy veteran (VPB-123), concerning his experiences in the Pacific Theater during World War II. Assignment to the crew of a PB4Y-2; his unauthorized participation in a combat mission out of Okinawa over the Sea of Japan; battle damage to his plane; description of Hiroshima and Nagasaki from aerial observations after the dropping of the atomic bombs.

Transcript of an interview with William R. Gill, agronomist and Army veteran (A Company, 389th Infantry Regiment, 98th Division), concerning his experiences in the Pacific Theater during World War II and his experiences and role in the Pacific War Crimes Tribunal in postwar Japan. Appendix includes five leaves from "The hunt for Tokyo Rose,' By Russell Warren Howe and four leaves from "Tokyo Rose: Orphan of the Pacific," by Masayo Duus.

Interview with Glen McDole, a Marine Corps WWII veteran and POW from Des Moines, Iowa. McDole discusses joining the Marines in 1940, assignment to the 1st Separate Marine Battalion and deployment to Cavite Navy Yard in the Philippines, the Japanese attack on December 8th, 1941, withdrawal to Corregidor, Douglas MacArthur, the surrender, experiences in internment at Cabanatuan, transfer to Palawan, American bombing raids, surviving the Palawan massacre, rescue by Philippines civilians, the American liberation, and testifying about his former captors after the war.

Interview with Davis Porter Newton, Army WWII veteran of the Pacific Theater from Birmingham, Alabama. Newton discusses his family background, working during the Depression and his education, commissioning into the Army, assignment to the 346th Harbor Craft Company and deployment to Finschhafen, New Guinea, acting as defense counsel in a court martial, sea-transport operations around New Guinea and the Philippines, working with POWs, and investigating war crimes.

Transcript of an interview with John Rich, journalist and Marine Corps veteran (4th Marine Division), concerning his experiences as a Japanese language interpreter/interrogator in the Pacific Theater during World War II and his observations as a journalist while covering the proceedings of the International Military Tribunal for the Far East. Rich discusses his pre-war career in journalism; U.S. Navy Japanese Language School, University of Colorado, 1942-43; assignment to the 4th Marine Division, 1943; Roi-Namur and Kwajalein, Marshall Islands, 1944; interrogation of Japanese prisoners-of-war; Saipan and Tinian, Mariana Islands, 1944; Iwo Jima, 1945; coverage of the Tokyo war crimes trials for International News Service, 1946; reminiscences about covering Franklin D. Roosevelt's meeting with the press after the Atlantic Conference with Winston Churchill off Argentia, Newfoundland, August 10-15, 1941.

Recording of Joseph Lloyd Anderson's ChAnGE'S Music. A translation of the composer's words, from a letter to pianist Hadley McCarroll, illuminate that the composer tends "to think of ChanG E S Music as a phonographic fantasy because it plays out in each of Dellaria's three sound recording modes: Record-as-Document, Pseudo-Document, and abstraction. In order to really begin to understand him, I believe the listener needs to have an idea of ​​who [composer John] Cage is and why he is interesting. It is also useful to be aware of the Music of Changes, since the version edited by Wergo is the pseudo document with which my piece begins, and it constitutes one of the first 'silent' pieces of Cage (with 4'33''). It is about the need for the composer's ego to step aside before the music so that it can speak clearly. The pseudo document is fun because it allows us to make someone play what has never been played, and say what has never been said, while passing it off as a kind of auditory truth. Cage's opening text where he puts forward the beginnings of all this using recordings as instruments is actually taken from a statement explaining why …

Interview with Jacob Bekker, a Holocaust survivor from Warsaw, Poland. Bekker discusses his upbringing, life for Jews in Warsaw before the war, antisemitism in Warsaw and discrimination, the invasion of Poland, Germans and Poles identifying Jews and singling them out for labor, fleeing to Russia and working there, returning to Poland after the war, and leaving for Israel.

Interview with Pola Bekker, a Holocaust survivor from Warsaw. Bekker discusses her family, the Jewish District in Warsaw, life in the city before the war, antisemitism in Warsaw, the invasion of Poland and bombing of the city, fleeing to Russia, life in Orsk, moving to Voroshilovgrad, returning to Poland at the end of the war, and moving to Israel.

Recording of Nicolay Apollyon's CellOrganics. For Cello and ISPW. This work uses the timbre of the solo cello extended through computer signal processing and synthesis. The instrument generates the electronic sounds in real time under the soloist's direct control, offering a wide range of sonic possibilities. The signal processing and synthesis include live sampling, real-time granulation and spatialization. The computer tracks the pitch and amplitude envelopes of the input signal of the cello.

Recording of Ron Averill's Aes * Aurichalcum * Galmei. For electronics and pre-recorded manipulated sound.

Recording of Ron Averill's Nature morte: enshare entangled emerge. This work uses sound material from field recordings and synthetic sound.

"Senza Voci 3" finishes the series "Senza Voci", three works that over the years have been made with various techniques, but which maintain unaltered some basic characteristics concerning the sound material and musical thought related to it. Especially, "Senza Voci 3" was realized at the CSC of the University of Padua, with the help of Sylviane Sapir on the real-time system that uses Giuseppe Di Giugno's 4I processor, controlled by a PDP 11 computer. The synthesis method is the amplitude modulation and the sound material is borrowed from the previous works: four sets of frequencies which from low to high, are called Alpha, Beta, Gamma, Delta. The relations of several degrees that take place between these sets define the articulation of the piece through a path traveled several times which goes from the individualization of single moving sound blocks to complex fusion. So this "Senza Voci is linked to the dominance of a guide set. If "Senza Voci 1", the guide set was Beta (in the middle register), "Senza Voci 2" Alpha (the most serious), the last "Senza Voci" are the Gamma and Delta sets that come to form the line important part of the speech. Another peculiarity: the extreme …

Recording of Natasha Barrett's Earth Haze. This work journeys through a landscape of dissolving images and events, breaking open enclosed sound-worlds to reveal huge spaces filled with wraith-like figures. It attempts to fuse musical and extra-musical properties of the sound through drawing on the interaction of physical objects, people and the surrounding world.

Recording of Natasha Barrett's Racing unseen. Racing unseen is an acousmatic composition in two movements: "Movement one: Racing Wide" and "Movement two: Racing Inside." Text accompanying this piece is as follows: "Racing through, Racing amongst, Into new spaces, Away from old emotions, Racing high, racing low, to escape, to seek, racing into the eddy... racing forever... racing unseen."

Recording of Peter Batchelor's Velocity. Assorted ideas concerning outdoor, spatial environments crystallized into the concept of velocity from which this work evolved. The piece involves an exploration of the ways in which speed might be implied entirely through the use of sound, both real and 'unreal', and placed within a context that allows it free reign as a musical device. Cinematic elements suggesting movement have thus been combined with gestures and textures of varying energy and complexity the electroacoustic medium permitting fluid interaction between the two.

Recording of Bret Battey's Distance, Dance, Discern. This work began with a recording session where the bassoon uses a wide range of sounds and timbres that can be performed on the instrument, including key clicks, tongue-pops, reed crows, and multiphonics. Excerpts from this recording provided the basis for many of the sounds heard in the pre-recorded, computer-generated portion. A conceptual focus for the creation of the piece was the psychology of consciousness and desire. The three words of the title correspond to the three major sections of the piece.

Recording of Enrique Belloc's PoPierre. This work is for manipulated voice and electronics. Surrounding sounds, onomatopoeia, fragments of conventional music are combined to create a sound space which become musical poem.