Recording of Amnon Wolman's New York. For piano and electronics.

Recording of Mario Vernadi's Dancescape. The material from this work comes from a recorded improvisation performed by the composer on bongos. Then, the material was electronically processed. Another source material included a recorded vocal improvisation by the Argentinean folk musician and singer Leda Vadallares. This material also underwent several digital manipulations and processing on the computer.

Recording of Doyle Roger's Dark scenery court games. This works uses a collection of sounds, which are organized to create a cohesive soundscape. Made up of three differing sections, which all hold a variety of timbres and movement.

Recording of Jukka Ruohomaki's Luscinia. This piece is made entirely of nightingale sounds and uses editing techniques that the composer feels represents the 1970's. Some of these techniques include tape echo and reversed sounds, all applied to various recordings of nightingale sounds.

Recording of Gary Berger's Elastische Studie. This work was inspired by the analysis of elastic and springy materials. Their dynamic and organic movements as well as their resonances constitute an important part of the composition.

Recording of Milton Estevez's Cantos Vivos y Cantos Rodados. This is a work for chamber ensemble and electroacoustics. It was commissioned by the Institut für Neue Musik der Staatlichen Hochschule für Musik, Freiburg. This work premiered by the Hochschule Ensemble.

Painting of layered multi-color shapes and patterns featuring two small purple flowers and blue berries.

Near abstract painting of a older male figure wearing glasses.

Transcript of an interview with Evelyn Myers McCune, nurse, concerning her experiences as a civilian secretary with the State Department in Washington, D.C., before the and during World War II. McCune discusses her educational background; decision to take a position with the State Department in early 1941; adjustments in moving from a town of 2,500 people to the nation's capitol; personal observations of the activities at the Japanese embassy on December 7, 1941; wartime living conditions, rationing, and transportation adjustments; social life; comments and observations of Secretary of State Cordell Hull, Japanese ambassadors Saburo Kurusu and Kichisabura Nomura, Ambassador Joseph Grew, and Eleanor Roosevelt; working with diplomatic codes; incident involving President Roosevelt's stamp collection; and her decision to join the Cadet Nurse Corps, 1944.

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 Frank Pecquet's Mindscape. This work is for an orchestra of soloists and electronics. Mindscape refers to Mondrian's neoplasticism, which placed volumes in space by giving back to the image its material opacity through its geometric filling. The rectilinearity of forms and the frankness of colors affect the eye by concealing the perception of real objects. The form escapes in the rigid plastic of the lines at right angles. Such would be the metaphor of "Mindscape" in the field of sound.

Recording of Nicolas Verin's Mariposa clavada que medita su vuelo. For flute, tape, and electronics. The title is a verse from the Ode to Salvador Dali by Federico Garcia Lorca. There is no contradiction, but a complementarity, between the internal micro-mobility of the sound material, its expansion, and a smooth and deployed curve, a free and wide flight.

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 Chin-Chin Chen's Points of departure. For vibraphone and tape, realized using Ensoniq SQ-2, SQ-R, and YAMAHA TX81Z. This work maintains the identity of the soloist vibraphone, and creates the ambiguity between the live vibe and the ghost vibe to some degree in some sections. The whole piece is clearly divided into 6 sections. The live vibe sometimes stands in the limelight (cadenza) and sometimes merges into the tape.

Recording of Bernard Fort's Compositions ornithologiques. For electronics and pre-recorded sound. This work was created using traditional electro-acoustic technique, exploring acoustic spaces and possibilities.

Recording of Guto Caminhoto's Monólogo (Version 2). Monólogo was composed using computer synthesized sounds and natural sounds. The main sound material prepared for this piece is the voice - words spoken and recorded by the composer, and computer synthesized voices with Csound’s FOF unit generator. Other sounds are bells, stones, wood and some more synthesized sounds. It was premiered on June, 13, 1996 at State University of Londrina, Brazil.

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 Mario Verandi's Heartbreaker. This composition is based on the basic human activity of breaking objects and the various forms of energy that are freed by this phenomenon. The original sound sources were those of a hammer breaking a brick wall, glass, and light bulbs; the smashing of windowpanes, cups, and plates; tearing paper and cloth; and crushing branches and leaves. The computer manipulations extended and complemented the original sound material, revealing new dimensions.

Recording of Helmut Zapf's Scene.

Recording of Riccardo Dapelo's Sul cuore della terra. These verses by Italian poet Salvatore Quasimodo can describe completely the sensations felt in the incredible and wild countries of Barbagia, Barona and Supramonte (Sardinia-Italy). Often the most interesting phenomena of human experiences occur in borderlands, lands only superficially scratched by processes of history. The isle of Sardinia is one of these lands, an extreme land, in which flows something ancient and mysterious, primitive and solar. It is sufficient to go away a little from the coasts full of tourists to find oneself, unexpectedly, in a "natural harmony" at what can be considered "earth's hearth." In the same natural harmony, rough and wild, are born also the voices of "Tenore de Orosei" - an ethnic poly-vocal group, whose voices are the starting point of this piece. Every sound of the entire work is derived from the manipulation (re-synthesis, cross-synthesis, convolutions, granular time-shifting and so on) of the above mentioned voices plus several samples of water and Launeddas (a typical bagpipe of Sardinia). The aim of the piece is the reconstruction and the interpretation of a sensorial experience of the Sardinia, rejecting any musical description and instead searching for an ancient feeling archetype.

Recording of Michael Rosas Cobian and Jay Arden's Rite of Passage. Composed and realized at the composers' home studios in 1996. Rite Of Passage is a piece which expresses the composers' joint interest in concepts of time and rhythm. The music follows a journey from a state of origination to full maturity and in this respect represents a process of growth. Finally, this piece attempts to use the mechanistic sounds of the contemporary world and transform them into organic and even human sounds. The composers' intent was to illustrate the link between the external world and their inner consciousness.

Recording of Robert Normandeau's Venture. Made up of six movements that refer to states of existence: Innocence, Stability, Tension, Frenzy, Violence, Serenity, preceded by an Introduction. These are punctuated by variations on an ever-present movement, Tunnel which runs through the work. The title refers to the 1960's musical group The Ventures, but also progressive rock in general. It is exclusively made up of fragments of that music ss well as quotations from Mussorgsky's Pictures at an Exhibition.

Recording of Paolo Pachini's La cuirasse du crabe central.

Recording of Juan Reyes' Choi-Hung. This is a piece for flute sounds and modeling of timbres from the far east. In particular the sound of the Shakuhachi. The timbre, for the most part, was achieved through Spectral Modeling Synthesis. The focus pointed on controlling the sound of wind and the vibrations of the wood. The inspirational sources for the piece are a Shakuhachi performance and a subway station in Hong Kong. This piece was composed at MOX - Center for Advanced Computation at Universidad de Los Andes in Bogota, Colombia.