Recording of Grant Cho Covell's Handel variations. Handel Variations: Theme with twenty-five variations on the Sonatina in B-flat Major (G. 40) by George Frideric Handel (1997) for tape. Each with differing sonic characteristics and sound processing. Designed to be played from a CD, so that any number of variations in any order can be performed (in fact, the variations’ numbering scheme purposely thwarts a chronological order). In an ideal performance, the variations and the theme would be played in random order, but so that the following program notes are useful, a random order is already provided.

Recording of Philip Samartzis' Hérimoncourt. Based on environmental recordings of the Peaugot Chateau and surrounding grounds, located in Herimoncourt, France. . The Peaugot Chateau is a large, wooden, acoustically dense building which has continually shifting moods and textures. The intention was to create a sonic narrative which captured the dense acoustic character of the estate with an emphasis on the granulation of many of the sounds I recorded there. The granulation technique enabled me to sonically replicate the creaking tones which permeate through every crevice of Herimoncourt.

Recording of John Levack Drever's Hippocampus. Parts consists of: 1. a mythological sea creature with the forelegs of a horse and the tail of a fish; 2. any marine teleost fish of the genus Hippocampus, having a horse-like head; 3. a structure in the floor of the lateral ventricle of the brain, which in cross section has the shape of a sea horse. It functions as a major neural center for memory, especially that of smell. Hippocampus is a soundscape work built up from a field recording of a public swimming pool. That recording is presented linearly through fluctuating modes of transformation, projecting an intense dreamlike meditation.

Recording of David Prior's Hymne an die materie. "An die Materie" was written for dancer/ choreographers R. The piece was inspired by a poem by French Jesuit mystic Pierre Theilhard de Chardin in its German translation. The piece was primarily intended for an anglophone audience, giving the opportunity to use the text for it's complex morphologies. Although inextricable from the recording technologies which made it possible, and in stark contrast to much of my other work, the lines or layers suggested by the multi-track method by which the vocal or instrumental 'performances' were played into the computer.

Recording of Gary Berger's Im selben Raum. The composer equates this work to the concept of objects in a room with a constant changing of visual angles and lighting to bring new items to the foreground. The idea that for the onlookers nothing remains equal.

Recording of Stéphane Roy's In memoriam. For electronics and sound processing. This work is an evolving sound scape moving through many differing sound timbres.

Recording of Jarmo Sermilä's Incubo di orfeo.

Recording of Magdalena Klapper-Rybicka's Instrument- area 1. "Area I" was written on commission from the Polish Radio Experimental Studio in Warsaw. The piece was produced on Csound and a Sonic Solution system, with the cooperation of Ewa Guziolek-Tubelewicz. The piece is based on two groups of sounds: those of woodwinds and brass instruments, recorded in anechoic chamber, and sounds of string, generated by computer algorithms. The form of this piece is composed to resemble a "bridge'' as far as the sound pitch is concerned. Although "Area I" is an electroacoustic piece, it has an instrumental character.

Piece for electronic keyboard and synthetic sounds. This is a controlled improvisation piece generated on an electronic keyboard with Max MIDI program controlling the different sound patches and dynamics in real time. This piece was realized in 1997.

Recording of Richard Dudas' Interlude I from stories to read to your lover.

Recording of Simon Hall's Jazzthing. Jazzthing attempts to fuse some of the elements of jazz - the rhythmic vitality, the instrumentation, the freer forms of contemporary jazz music - with more abstract soundworlds and developed, highly processed material from the electroacoustic genre. The piece integrates sound objects with clearly identifiable extrinsic links with those that essentially transcend this, as well as, in time-honored jazz tradition, featuring quotations - both musical and vocal, obvious and occluded. During its course, Jazzthing moves from fast-moving, exhilarating textures to reflective, pensive soundworlds to pulsed, driving, rhythms. The sources for this piece, including the musical quotes and a couple of the spoken quotes, were performed by the composer and a number of their musician colleagues who kindly allowed the composer to "pinch" bits of their performances following recording sessions produced for release elsewhere. A couple of the vocal quotes and smallest sound objects come from jazz LPs and sample CDs. Much material has undergone significant transformation, notably by techniques of time manipulation and the cross-synthesis of sounds. Musical quotes include material from Weather Report's Birdland, Herbie Hancock's Cantaloupe Island, and Bob James' Theme from Taxi.

Recording of Johannes S. Sistermanns' Just and thongs. For two voices, house, sink, shower, radio, tv, train, Robert Fripp, keyboard, and telephone signal.

Recording of Jacques Daney's Kali-Yuga. This work was created for solo magnetic tape.

Recording of Anders Satter's Kantring. This piece plays on the theme the city versus the countryside and can be divided into two parts: the first being scenes from a farm and the second representing a daydream. This transition between the two parts is referenced by the title which can mean "capsizing" and is shown through the replacement of concrete sounds with synthetic ones. The piece premiered at the Stockholm Electronic Music Festival.

Recording of Takayuki Rai's Kinetic Figuration. For MIDI piano, VP-1 synthesizer, and a live computer electronic system. The computer system of this piece realizes an interactive computer music environment by means of both signal processing and algorithmic composition in real-time. The piece consists of 12 sections called 'Cells'. In most of the Cells, the piano and synthesizer are synchronized via the computer system in various ways. In each cell the pianist chooses materials to be played or improvises from its one page score. MAX was used for the interactive software.

Recording of Bruno Spoerri's Krebsgange. This piece is comprised of two tracks that include the same instrumentation but in different ways. The musician plays trumpet and a conch shell in both tracks and improvises a dialogue with two different computer programs (LiSa and MAX). Each track is improvised differently to show the various ways the computer responds to the musician.

Recording of Klaus Roder's Kristallisation 7. This work uses the well known song 'Greensleeves' played by violin several times in several variations. It is the basis of the piece. New musical structures arose by chosing and putting together small parts from the recordings. By the repetition of this procedure new musical shapes were created. Sound recordings of my family, the kitchen, and synthetic sounds.

Recording of Joseph Lloyd Anderson's Kyai Pranaja. The composer gives thanks to the help of Simon Gray and David Malham, he also thanks Dave for his advice and instruction regarding Ambisonic theory and techniques.

Recording of Miguel Azguime's De l'étant qui le nie. The sound material in this piece was taken from a piano solo piece written by the composer years earlier. Some piano sounds have been modulated to create an electroacoustic counterpart.

Recording of Gérard Torres' A l'ouest, Monsieur Wayne. This is a work for electronics that includes excerpts of dialogue from various John Wayne movies.

Recording of Hiroki Takeishi's Labyrinth music. For voice, electronics, and pre-recorded audio. This work is for electronics and processed sound.

Recording of Johannes S. Sistermanns' Lichtung. This work takes a field recording within a dense sound environment and harsher electronic sound effects.

Recording of Natasha Barrett's Little Animals. This work is an acousmatic composition. A forest of small creatures begin to transform and interact with their surrounding environment. Slowly, sound fragments lose their acoustic source-bond to leave the bare essence of their expressive content, and gradually unfold an abstract musical discourse. Flow characteristics, both intrinsic to the sound and freely imposed by the listener's own natural sense of time, gradually unfold, leaving an impression of personal interpretation combined with the feeling of being a passenger, carried through the music.

Recording of Wes Richard Wraggett's Loves déjà vu. This work for electronics and pre-recorded sound.