The National Museum of the Pacific War presents an oral interview with Howard Jackel. Jackel served aboard the USS Portland (CA-33) beginning in 1937. During World War II, he was aboard the USS South Dakota (BB-57). He noticed a stark difference between the two crews: while the Portland’s crew were polished sailors, the South Dakota’s were fighting men; uniforms did not mean much to them. During the Night Battle of Guadalcanal, Jackel was in the main battery plotting room, taking ranges from five range finders. As readings were coming in as quickly as five per second, Howard was concentrating on his plotting so much that he did not feel it when the ship was hit. By the end of the battle, only one range finder was left.

The National Museum of the Pacific War presents an oral interview with Ray Hunter. In this interview, Hunter recounts the Night Battle of Guadalcanal, for which he served as officer of the deck on the USS Washington (BB-56), on the lookout, keeping the ship out of collision with friendly forces, and making sure that the commanding officer’s orders were carried out. The crew had been at general quarters for 12 hours before the first shots were fired. Still, everyone remained calm. At the climax of the battle, Hunter ordered a port turn to bypass destroyers that were sinking and burning in front of the Washington. This put the Washington behind the flames so that it would not be silhouetted. For reasons unknown, the USS South Dakota (BB-57), which until this time had been following closely behind the Washington, made a starboard turn, creating a silhouette effect, and was subsequently hit by a salvo of shells. The Washington then shepherded the South Dakota to Noumea.

The National Museum of the Pacific War presents an interview with Rear Admiral Ray Hunter and Howard Jackel. The interview begins with Admiral Hunter’s experiences aboard USS Washington (BB-56) during the Naval Battle of Guadalcanal on 14-15 November 1942. Hunter served as officer of the deck, and speaks of events that occurred in company with USS South Dakota (BB-57). In the second interview, Howard Jackel shares his experiences aboard the South Dakota from January of 1942 through January of 1944. He participated in the Battles of Santa Cruz, the Naval Battle of Guadalcanal and part of the Gilbert and Marshall Islands campaigns. Jackel speaks of their interaction with the Washington during the Guadalcanal battle.

The National Museum of the Pacific War presents an oral interview with Harold Buell and Warren Taylor. Buell discusses being aboard USS Enterprise (CV-6) during the Battle of Santa Cruz Islands. Buell served as a Dauntless dive bomber pilot. Ingram’s (interviewer) primary interest in the battleship USS South Dakota (BB-57). Ingram also interviews Warren Taylor. Taylor served as a gunnery officer aboard the South Dakota. Taylor discusses much about gunnery at sea: targeting, target spotting, plotting, etc. He also recalls an explosion aboard ship while replenishing ammunition. Taylor also recalls going ashore in Japan after the surrender.

The National Museum of the Pacific War presents an oral monologue by Bob Willig. Willig joined the Navy in 1942 and received basic training in Newport, Rhode Island. He went on to receive flight training in Brunswick, Maine; Charleston, South Carolina; and Yellow Water, Florida. From 1944 to 1945 he served as a flight engineer with Patrol Bombing Squadron 26 in Palau, Ulithi, and Yap. He kept a daily journal and gives detailed accounts of a typhoon, a crash landing, an engine failure, a fuel explosion, a surprise enemy attack, and having a depth-charge stuck in a bomb bay. Yet he also fondly recollects cooking steaks on hot plates during the 10- to 12-hour patrols and how peaceful his time at Ulithi was. He was rarely ashore and spent his time mostly on the USS Casco (AVP-12), USS Cumberland Sound (AV-17), and USS Kenneth Whiting (AV-14). At the end of the war he returned home and was discharged in New York.

The National Museum of the Pacific War presents a monologue of Dale Fagg. Fagg joined the Marine Corps in October of 1942. In Pearl Harbor he was assigned to the Marine Detachment of Admiral Chester Nimitz at Makalapa in Honolulu, and served as his personal chauffer, from 1942 to 1945. He shares numerous stories of his encounters with and work for the Admiral.

"... The watermark of a drawing fine enough to escape the bite of termites ..." (The invisible cities) "D'Italo Calvino. Rhythmic series of fragments of sounds, arranged in a certain order according to regular spacings, grouped together in independent sets, alternating with other types of sets, made of tapered sounds, modulating loops, emergences. From this thick sound appear the thread and the grain. The movement order is as follows: Zobeide - Sophronia - Antropie - Zemrude - Despina - Procode - Octavie - Ersilie - Phyllide

Recording of Etienne Saur's Dieu est absent des champs de bataille. For electronics. "God is Absent from the Battlefields" (incidental music, for theater) taken from "La main coupé" by Blaise Cendras, interspersed with poems by Guillaume Apollinaire. The subject is the 14-18 war and the atrocity that accompanies it.

Recording of Andrea Libretti's Segmento 3. Third piece of a series for solo instrument and tape. Based on the development of the results of a harmonic analysis of clarinet spectrums. The electronic part is a dynamic elaboration of a clarinet spectrum (made by additive synthesis) which is compressed, enlarged, shifted, etc.; the clarinet part is entirely developed from seven harmonic cells derived from the base spectrum. The piece can be considered as a journey through the possible articulations of an expanded clarinet in different textures.

Recording of László Dubrovay's Concertino für digital klavier und digitales orchester. This Concertino for piano and tape uses a special tuning system (36V2; 1/6 tone). In this version, the piano uses three differently tuned strings for one note. The orchestration is produced by a Yamaha DX II FD synthesizer under the control of a Macintosh computer. The piece consists of three movements, like a traditional concerto. All chords are precisely determined.

Recording of László Dubrovay's Concertino for piano and tape. The work has a special tuning system (36V2; 1/6 tone). In this version, the piano uses three differently tuned strings for one note. The digital orchestration is produced by a Yamaha DX II FD synthesizer under the control of a Macintosh computer. The piece consists of three movements, like a traditional concerto. All chords are precisely determined. The novelty in this piece is the particular harmony and the principle of the melody which make it possible to sing a new melody, associating the accomplishment of the traditional concerti - brilliance and virtuosity - with a system of microtonal tuning and with a "rock music" stamp. From this combination emerges a new intonation.

Recording of Orlando Jacinto Garcia's 3 pièces pour double basse et bande. Was written for bassist Robert Black and completed in the summer of 1990. The tape part was made using the bass player's recordings of brief musical pieces (i.e. tremolos, harmonics...) which were then digitized by the composer, sometimes transforming and mixing the material in layers of sound. The second of the three pieces is characteristic of a genre of glissandos, register changes, and also long holds both on tape and for the live double bass part. Great care as to the correctness of tone and the control of timbre is necessary on the part of the double bass player.

Recording of Antonio Moliterni's Pagina Blanca. This work was inspired by 1970s rock. Every sound was created by the Kawai K5 synthesizer, with an additive synthesis generated and two oscillators in the differing techniques. The first one, in parallel (64 harmonics for each osc) and the second one, series (128 partials for each oscillation).

Recording of Pablo Freire's Zeluob 3. The Andean sounds of the pan flute are used while the percussion evokes the great Amazonian Tunduy (drum made of a hollow trunk). This composition uses Pierre Boulez's integral serialism technique, hence its name. Number 3 is part of the macro and micro structure.

Recording of Jon Christopher Nelson's Six études brêves. For violoncello and tape. In this composition, relationships between live instruments and tape are explored. This interest is most evident in the etude entitled Juxtaposition, in which the cello and tape present contrasting material and gradually exchange roles throughout the movement. Each of the six short studies emphasizes different aspects of cello technique. The movements are contrasting in nature and implement a variety of sampling, synthesis, and sound processing techniques.

Recording of Cort Lippe's Music for guitar and tape.

Recording Michel Tetreault's Compost sonore. The inspiration from this piece is "Compost", a word which, in the dictionary, comes after "composition" and which, for transposition, can mean: recovery of sound debris, musical materials, scraps of old pieces, used as fertilizer for a new musical piece. Almost all sounds in this work are "concrete" in nature. The sound of water is barely transformed to avoid losing their "natural" reference. These must have been used without much transformation, while others could undergo many mutations before being "composted".

Recording of Nicolas Vérin's Rhapsodie parisienne. This work uses texts taken from "Spleen de Paris" by Charles Baudelaire. The reciter is the guide is the base of the piece and the speech: is hammered, stretched, stopped by rhythms based on a pulsation, and synthetic sounds. Translated antagonisms reflect contrast: presence/absence, natural/artificial, melodic/noise, near/distant, as well as by contrasts of style.

Recording of Marcelle Deschênes' Les Vagues. This work is for voice and electronics. It is inspired by excerpts from Virginia Woolf's novel "Les Vagues". Moments of being of human are brought together haphazardly by the imagination of an old man. During the evening solitude, reflecting memories of incoherent and fleeting images from privileged moments of his life being to play and sensations emerge. This work represents a new stage which has been crossed; awakening the last rise of an endless fallout.

Recording of Wittwulf Y. Malik's Schlachtmusik / Battle For Surviral of Life.

Recording of Eric Cordier's Un Nom A Quoi? There is speech throughout this piece and lying underneath is where the electronics create a layer of sound adding complexity and texture to the overall piece.

Recording of John Kefala-Kerr Panagia. There is violin, voice, clapping, cello, clarinet, and percussion. Throughout this piece there is a drone which is held while the violins melodic movement interacts with this drone, creating harmony. Eventually, body percussion is added, along with cello, and clarinet. There is a folk feel during this section, eventually, going into a almost legato section with synthesizer.

Recording of Xavier Garcia's Fire works-musique. This piece is inspired by fireworks. The sounds have the same sporadic feel, like a firework would, and there are tones which help add a consistent layer of harmony throughout.

Recording of Michael Rosas Cobian's Womb Etudes. There are three sections to these etudes and the sounds are all derived from brass, making the transients and resonances a big part of this work. Mostly, it was composed under the stream of consciousness principle, though there was a large degree of predetermines being exerted particularly regarding as when events took place in time and space. The shape of the work also suggesting an "expanded orchestral" work due to the multi-dimensionality of the sound objects.