Recording of Patrick Lenfant's Archée. The main material in this work is fire, an "electonic" fire made from exclusively analog wave generators. The second material is "time" and is an essential part of the work. This piece belongs to a collection of works the composer calls his "electronic sound paintings" which consist of pieces that suggest to the listener an image of the chosen model by stylizing it using electronic sources.

Recording of Robert Scott Thompson's Rust. This is a work for computer which combines various kinds of metallic sounds - and their transformations, as well as other sounds sources such as clarinet, flute, and Tibetian and Gregorian chants. Both the acoustic and synthetic sounds have been subjected to various types of digital signal processing.

Recording of René Uijlenhoet's Wedge. Music for two audio tracks. The composer describes this piece as being about sounds that wrench other sounds loose as well as frantically racing sounds or stationary sound planes. The piece was inspired by the rhythms and loops in Pierre Schaeffer and Pierre Henry's early Musique Concrète montages. Wedge was created with synthetic sounds from a variety of sources, as well as a pair of distorted bass clarinets and a manipulated cymbal.

The National Museum of the Pacific War presents an interview with E. B. Potter. Potter was attached to the Intelligence Section of the 14th Naval District in Oahu during World War II. He graduated with an English degree from the University of Richmond in 1929. He completed an advanced degree in English at the University of Chicago, and during this time the war broke out in Europe. He applied for and received a commission in the Navy. Potter was sent to the Naval Academy as a reservist to teach college-level European and naval history. After 7 December 1941 he went to communications school. From there he went to Pearl Harbor in November of 1943. Potter worked in the Registered Publications Issuing Office (RPIO), distributing codes and ciphers to ships of the fleet. He provides a vivid description of his work. Potter became second-in-command of RPIO. He talks some of Commander Joseph Rochefort’s operation and code breaking. He discusses briefly working on the biography of Admiral Chester Nimitz, and some of Admiral Bill Halsey’s actions during the war. Potter was later assigned as executive officer to the 14th Naval District and provides stories of his experiences. In 1945 he returned to …

The National Museum of the Pacific War presents a monologue with Douglas Hubbard. Hubbard recalls several events surrounding the recovery of the artifacts from various Pacific battlefield areas during the 1971-72 time period. His father, Doug, Sr., served as museum director in 1971, and during that time Hubbard, Jr. was serving in Vietnam with the US Naval Intelligence Command. Through his numerous travels through New Guinea and other Pacific Islands, Hubbard identified remaining artifacts that would help the museum interpret certain events in the Pacific War. He also identified veterans who could assist with firsthand accounts in World War II. He recounts how he acquired and transported the artifacts and veteran interviews back to the museum in Fredericksburg.

The National Museum of the Pacific War presents an oral interview with James Donovan. In January 1943 Donovan served as a member of the 6th Marine Regiment, 2nd Marine Division as it joined the ongoing battle at Guadalcanal. His unit was withdrawn in February to New Zealand, and after recuperating from widespread malaria, his battalion landed at Tarawa on the day after the initial landing. After Tarawa, Donovan recalls that members of his battalion were put ashore by the USS Nautilus onto the Northern Gilbert island atoll Abemama, to flush out entrenched Japanese soldiers. Donovan was the battalion executive officer during the landing on Saipan. His landing craft was shot up resulting in several casualties but eventually landed. He describes the ferocious action that followed over the next three weeks until Saipan was eventually secured on 9 July. Donovan next describes the landing on Tinian where the 2nd Marine Division landed in support of the 4th Marine Division and secured the island over the following eleven days. At the end of 1944 he was transferred back to Pearl Harbor for a job at Fleet Pacific Headquarters until June 1945 when he was sent to Quantico, Virginia as an instructor.

Recording of Wilfried Jentzsch's Kyoto Bells. This work was commissioned to mark the 1200th anniversary of the founding of the city of Kyoto and premiered there in 1994. The sound material is based on four bells of different sizes which the composer had brought with them on their first returning trip to Japan in 1993.

Recording of Victor Lazzarini's Vozes Dentro. This work is made up of three movement: Cidade Irreal, O Moinho dos Cantos, Vozes Dentro. Vozes Dentro is a trilogy, which examines different aspects human voices sounds. The first piece is a study of different types of textures, which are transformed into vocal-like sounds.

Recording of Trevor Wishart's Blue Tulips. This work is built on a recording of an old woman's voice and is more like a documentary in style. The story recounted provides all the material for the piece, which becomes a short study in sonic transformation and variation.

Recording of Stefano Giannotti's Giovanni e gli alfabeti. This work is based on the theme of language sound richness and includes various alphabet phonetics from different languages. The main focus of the piece, however, is the singing of Giovanni, who performs a song in his dialect and tells stories about his youth. The piece is available on CD.

Recording of Elsa Justel's Feuillage de silence. The composer dedicates this work to his father who helped inspire the concept behind the piece. The composer compares the job of a musician to that of a gardener when honing their craft, by experimenting and manipulating nature in a non-destructive way in search of something beautiful.

Recording of Miklos Sugar's Pater noster. This work was composed for the female choir Musica Nostra and its choirmaster Zsuzsanna Mindszenty. The vocal material in the piece is comprised of four voices that undergo electronic transformation. The special effects were made by the YAMAHA REV5.

Recording of Ron Averill's This is the sound of my dreams. Work for percussion, flute, and electronics. This work emphasizes communication between flute and percussion, while exploring differing sound textures with electronic processing and sounds.

Recording of James Dashow's First Tangent to the Given Curve. This work is for piano and electronic sounds. The title of the work comes from an essay by Michel Serres, which captures rather nicely the sense of the music, the sense of the composition.The musical relationship between the computer and piano is rather precise. The pitches provide the basis for the sounds, which were created by the MUSIC30 software by the composer.

Recording of Rajmil Fischman's Cold fire. This piece is the first of a cycle of three pieces for string quartet and tape. The tape part was produced at Keele University studios on a Composers’ Desktop Project system. Most of its material consists of two main sources - a recording of ice cubes falling into a glass of water and a blow-torch - which were manipulated and processed in order to create diverse textures as well as gestural material. In spite of its remote timbral origin, the tape interacts with the string quartet either by merging and enhancing spectral areas of its morphology or by providing contrasting rhythmic elements which act as counterpoint to the gestural discourse of the quartet. Cold Fire received 2nd prize ex aequo in the instruments and tape category of the First International Competition of Computer Music “Pierre Schaeffer,” Accademia Musicale Pescarese, 1998. It was issued on CD, MV001-1998-SIAE, Accademia Musicale Pescarese, Italy. Performances include the International Mediamix Weekend, York, 1996 (Vlns: Nicky Haire and Rachel Eaton; Vla: Clare Catchpole; Vlc: Peter Nicholson; Cond: Hector Macandrew) and the Australian Computer Music Association conference 1996, Queensland, Australia (Kiros quartet).

Recording of Wes Richard Wraggett's Icarus strictures - Chants of the Apocalypse.

Recording of Simo Lazarov's A little breath symphony. This work is made of breath sound sources and electronics. Made up of 5 differing movements; 1. Highly, Highly - Higher and Higher: 2. Deeply, Deeply - Deeper and deeper: 3. Going up - Levitation: 4. High & Deep - Scerzo-High & Low: 5. Up & Down - Allegro - Up & Down.

Recording of Tamas Ungvary's Nine Fingerprints. In these impromptus the border between the church organ and computer music domains seems to fade. These pieces were edited out of several spontaneous recording sessions. During those recording sessions, a Sentograph controlled IGMA parameters, the remaining three outputs of the second FingerprintR were used to change the Overtones, Brightness and Articulation parameters. These organ instrument spaces were implemented on the SY99, using waveshaping, FM and complex waveform additive synthesis.

Recording of Tamas Ungvary's Grattis with epilog. The swedish word "grattis" (congratulations) with its two different vowels and four different consonants piqued the composer's imagination. The composer's recorded and digitalized voice serves as the source material for the first part of the piece. Using various, mostly self-designed, real-time programs which were controlled with a three-dimensional touch-sensitive input device called a Sentograph. In addition, the composer I developed two programs, one which generated sound (GLIDE) and another which manipulated sampled sound (S-GLIDE).

Recording of George Skip Brunner's Women in black. For electronics, manipulated voice, and violin.

Recording of Maria Cristina De Amicis' Aura. This work explores the sonic possibilities of processed percussion and electronics.

Recording of Manuel Rocha Iturbide's SL-9. For digital tape. Sl-9 is named after the comet that hit Jupiter in 1994. This piece was made with granular synthesis techniques, with Barry Truax's granular synthesis system (The DSP DMX-1000 controlled by a PDP Micro 11). The samples used for the time granulation were popping sounds of fire, drops of water, and the ocean. The idea was to make a programmatic piece where a comet hits a planet, and brings to it water, an element which will probably bring life to it.

Recording of Klaus Roder's Kristallisation 6. This work uses a small tape machine with voices, birds and kitchen noise are to be heard. A short, only a few seconds lasting part of this recording returns in continuously varied shapes. The original as well as electronically produced imitations of it are repeated constantly. Simultaneously new tones and sounds are added. So the repetition becomes accentuated in several ways. A special accent is given by the sounds of the 'Haaner Kirmes', a local fair, with its typical noise - its loudspeaker voices and noise of the engines of the roundabouts.

Recording of YeeOn Lo's Portrait of Timbre as a wild Wooddove. The composer describes this composition as having grown out of Gerard Hopkins' "Peace," which reads: "When will you ever, Peace, wild wooddove, shy wings shut / Your round me roaming end, and under be my boughs? When, when, Peace, will you, Peace?" The composer drew inspiration from Magritte's painting "La Grande Famille" (in which a huge "inverse" silhouette of the bird rising from a troubled, dark sea is depicted). Starting with random number sequences and the McGill instrument waveforms, the piece was composed using privately developed software.