Interview with Marcine Lanham, a Red Cross volunteer after Hurricane Alicia struck the Gulf Coast of Texas, and Jean Shepherd. Lanham and Shepherd both share their memories of the aftermath of Hurricane Alicia including work with the Red Cross helping clean up the damage caused by the hurricane.

Interview with Judy Smith, Irene Sanders, Lt. William Jackson, Norman Dykes, residents of Baytown, Texas during Hurricane Alicia. They discuss their experiences and memories of Hurricane Alicia.

Interview with Bob Kalbitz, speaking of the insurance losses after Hurricane Alicia hit in August 1983. Kalbitz describes in depth the insurance claims, and the damages brought on by the Hurricane, and a few anecdotes concerning insurance laws passed in Texas during the 1970's.

Interview with Jean Shepherd, Leon Warner, Fletcher Hickerson, residents of the Baytown area during Hurricane Alicia. All three women answer questions and elaborate on their experiences during and after Hurricane Alicia causing major damage in the surrounding area.

Interview with Jerry Traylor, Miller Casey, and Mike Prewitt, who were Public Works employees during Hurricane Alicia. Topics include memories of Hurricane Alicia and the aftermath.

Recording of Lelio Camilleri's Overfall. Transformed piano sounds and sound structures realized by means of voltage control make up the sound material of the piece.

Recording of Ricardo Mandolini's Poema Reiterado using the voice of Leonardo Martinez reciting Mandolini's own poem "Palabras" in an electro-acoustic composition. All sound material are disengaged from the speech of the spoken text (Sprachkomposition) which embodies the idea of the ancient synthesis between text and music. Realized at the Studio of the Musikhochschule in Cologne, Germany in 1983.

Recording of Charles Dodge's "He met her in the park," poetry by Richard Kostelanetz. The poem consists of a boy-meets-girl story that is told eight times, and the retellings abridged versions of the previous ones, sometimes reversing the gender roles until the final retelling is just "He met her in the park." In the composition, the lines are read by a male and female actor alternating lines and each telling of the story is articulated in a different way. The voices are synthesized with melodies, and over the piece, the voices become understood more like music which echoes the original language.

Recording of Margaret Sambell's Metal Harmonics. The short piece uses sounds developed by concrete and electronic means of a metallic resonance, much of it utilizing the rich overtone content of the sound source. The work was completed in April 1983 at the University of Birmingham.

Recording of Stephen Montague's "Slow Dance on a Burial Ground." Inspired by multi-traking and over-dubbling in pop music. Montague plays all various individual parts on folk flutes and log drums, playing at various speeds and other manipulations in an electronic studio to create at virtuosic product, even with modest skills on the instruments. The piece is an exploration in "Romantic minimalism," with its monthematic unfolding of a melody in the dorian mode and static harmony, but also with 18th/19th form influence.

Recording of Alain Thibault's Deca-Danse. Using a recording of a speech by President Ronald Reagan, Thibault makes a statement about the destruction that humans cause for one another. Th piece is split into ten sections: 1. Technopolis; 2. You are Loved; 3. Special Emission; 4. President's Message; 5. Reagan's Happiness; 6. Reagan's Delirium; 7. The Most Beautiful Gift of God; 8. Generation x; 9. Mx; 10. Future x. The piece was created at the Studios Bruit Blanc and McGill University.

Recording of Lelio Camilleri's Tess In Stonehenge. The piece explores the relationship between fast sound structures and sounds with a longer duration and different types of envelopes. The sound equipment consists of filtered white noise bands, frequency modulated bands, and sound structures obtained by the control voltage technique.

Recordings of Yuji Itoh's La poëtique de l'espace for prepared piano. The composer has no real structure for this work, only wanting to let the audience listen to experiences. The work was realized in Studio STGU under the technical direction of Professor S. Sumitani.

Recording of Larry Wendt's Broken Crystals, from "World-Class Technology." It is an extended narration piece that takes the form of a personal recollection. It is narrated by a Silicon Valley worker who works for an integrated circuit foundary that grows garnet crystals for the manufacturing of bubble memory. The factory is overcome with insects that destroy the crystals, and, in response, Silicon Valley is bombed with Cane Toads in order to get rid of the bugs. As a performance piece, the narrative would be read live while the background tape of manipulated environmental sounds along with a vocal processing device to allow immediacy to the live performance. Sometimes performed with theatrics or projected slides.

Recording of Åke Parmerud's "Kren," a concert piece. The title is an acronym of time (the clock) and energy: Kronos an Energy (KREN). The main idea for this piece was to create an electric world loaded with sound events that were emitted in a regular way. The work was created in Stockholm's EMS Studios and was commissioned by the Swedish Institute for National Concerts in 1983.

Recordings of Marek Choloniewski's "Rag, Rag, Rag" (includes five recordings, the last of which is a reduction). The piece is a transcription of the constructions of instrumental music with added electronic improvisation. Traditions of contemporary music meet those of jazz and rock, giving the piece a three part structure.

Recording of Richard Karpen's Mu Song. Karpen used the programs "Music II" sound synthesis language and "Score II" not list preprocessor in the composition of this piece. It was realized at the Center for Computer Music at Brooklyn College, City University of New York.

Recording of Gottfried Martin's Pax for tape. Includes electronic and natural sounds, including voice, news recordings, and recordings of war sounds.

Recording of Alcides Lanza's Sensors IV performed in 1984 by the McGill Concert Choir, conducted by Christopher Reynolds. The tape was realized at the Composer's studio (SHELAN Studio) and McGill University EMS in Montreal, QC, Canada. The piece explores different techniques of vocal wiring, especially the relationship of semantics, languages, and memory. The word "Memory" constitutes the entire text for the piece - using letter sound, recombinations of the word, and adding syllables from other languages that share similar etymology. Recording of the word "memories" -- Meg Sheppard's voice -- is used in the realization of the piece.

Recording of Jouko Suonio's The Song of Ainur. Composed at the Experimental Music Studio of Finnish broadcasting Company "Yle."

Recording of Roland Yvanez's "Brumes" for solo magnetic tape. The title translates to "Mists." The piece evokes the relationship between water and air on the surface of the ocean.

Recording of Louis Chretiennot's "Des nombres et des mots." The piece begins with a man reciting numbers 1-10 in French; after the first reading, electronic manipulation is added.

Recording of Roland Cahen's Métabole n° 1. The atmosphere of the piece is that of a place of "dark clouds like the sky of Flanders." It was realized at the IPEM of Ghent in Belgium headed by Lucien Goethals. The piece is one of Cahen's first musical compositions.

Recording of Pril Smiley's Forty-three (43). The sounds of this piece are structured in complicated layers that induce a kind of "x-ray hearing," focusing on different events within the texture.