Roberto Doati's Bastone armonico. For violin, rainsticks, electronics, and interactive system. This work attempts to realize the idea of a monochromatic surface electronically transforming the impulsive sounds of two ‘palo de lluvia’ (rainsticks). The interactive system settles the relationship between violin gestures and electronic part, adding may differing timbres.

Recording of Günter Heinz's Berlin views. This work presents the "sound of the city at the end of the century" and arose in connection with the video project Ç Vortex È of Akademie der Künste Berlin.

Recording of André Ruschkowski's Boreas. This piece was composed as one part of a longer musical program originally created for the Susan Quinn Dance Company. The musical material consists of two levels: (1.) microphone-recorded sounds of everyday human activities, and (2.) musical material, which was produced with different means of electronic sound synthesis. The extensive electronic transformation of these items and their arrangement in larger musical units took place particularly on the basis of gesture criteria (i.e., the energetic process of human movement items, the rhythm of tension and relaxation, reflects itself directly in the musical structures and their combinations). The aim is to create by this means an electronic music, which is able to address the listener directly by this specific gesture or physical quality.

Recording of Yasuhiro Otani's Brain-Wash. This recording plays on the idea of the unspoken and the unheard as well as forgotten memories that return with new significance. The composer explores the idea of connecting electronic music with ones consciousness and thus making technology an essential humanizing force.

Book providing.a biographical account of Frank M. Brandstetter, documenting his life and work as a hotelier, corporate executive, and U. S. Army intelligence officer. The text is based on Brandstetter's own recollections and corroborated with source documents and other published accounts. Index starts on page 367.

Recording of Mathew Adkins' Breaking. This work mixes electronic sounds with those of classic R&B music.

Recording of José Halac's The Breaking Of The Scream. This work was inspired by a folk song from North West Argentina called "Baguala del Tigre" and a poem written by Argentine poet Pablo Anadon called "Seasons of the Tree". The main ideas from both of these works converge into this composition.

Recording of Paul Koonce's Breath and the machine. This work was composed for 2 or 8 channel tape and is a meditation on the ritual of musical sound. The piece explores the relationship between performer and instrument and the process of turning focused air into sound.

Recording of Frédéric Kahn's Bref éloge du coup de tonnerre et du bruit d'ailes. Work made for electronics.

Recording of Eduardo Polonio's Brief Fast Ambrosia. This is a work for electronics.

Recording of Wayne Siegel's Burning River. This is a work for four channel tape and was commissioned by the New Carlsberg Glyptotek Museum with financial support from the Danish Arts Foundation. The composition was inspired by a section in The Iliad by Homer: Achilles running amok against the Trojans. The composer states his attraction to this section was due to the many references of sound within the passage and he attempts to emulate those in the composition.

Recording of Gyula Pinter's By my acoustic vision. This is a work for electronics.

Recording of Hubert Howe's Cacophony. This is a work for electronics.

Recording of Claude Hermitte's Carapaces. “Found” sound objects, captured in nature or imitated in the studio. “Lost objects” symbols of aggression, exclusion, confinement and withdrawal. “Lost objects” that want to break the shell, seek openness to the world and to others to rediscover childhood, the sensitive listening to sounds and the meaning they can carry.

Recording of Frances White's Centre Bridge (dark river). This work was commissioned by the New Jersey Symphony Orchestra for a concert of chamber music by women composers. The tape part is dominated by the recorded sounds of the Delaware River, while the instrumentals play over top. The title of the piece comes from the name of a bridge that crosses the Delaware river.

Experiments were performed to assess the suitability of Rhabditis pellio, a nematode found in earthworms, as a challenge organism for use in development of a biomarker assay to determine the potential of chemicals to suppress the immunocompetence of the non-specific immune system. To accomplish this goal, information on the life cycle of R. pellio was determined; including effects of incubation time and temperature on growth rates; along with information on the immune response elicited in the earthworm, Lumbricus terrestris. Immune parameters measured were coelomocyte migration toward and attachment to R. pellio larvae and adults. Preliminary background information showed that R. pellio has potential as a challenge organism for development of a biomarker assay.

Recording of Pekka Sirén and Agnieszka Waligórska's Chimera in Kosovo. This work represents the suffering of Kosovo refugees during wartime and utilizes radio mediums to further give the impression of the horrors and fears experienced by the victims. The piece uses radio voices and imaginary female cries as well as looped international newscaster voices.

Recording of Jean-Louis Poliart's Chronique d'une disparition. This work premiered in Brussels as part of the 6th international acousmatic festival and was composed with the help of the Ministry of the French Community of Belgium - General Directorate of Culture. The composer describes this work as an approach to death in a medieval way.

Recording of Michael Ward-Bergeman's City to the Water. This work was inspired by a trip taken to Gloucester, Massachusetts by the composer and his wife. This journey was recorded and used as a foundation for this work. The composer separated the piece into 3 movements: 'The Train', 'The Walk', and 'The Water'.

Recording of Robert Normandeau's Clair de terre. This work was dedicated to François Bayle for his 70th birthday. It is a complete rework of the original piece which was composed in 1999. Each of the 12 movements have been modified. The movements are: 1. Cadre étroit (espace clos) [Narrow Frame (Close Space)]; 2. Couleurs primaires et secondaires [Primary and Secondary Colors] ; 3. Mobilité des plans [Camera Mobility]; 4. Montage rythmique [Rhythmic Editing]; 5. Montage métaphorique [Metaphoric Editing]; 6. Clarté (Žblouissement) [Brightness (Dazzling)]; 7. Taille des plans [Proportion of Shots]; 8. Durée des plans [Duration of Shots]; 9. Couleurs ternaires [Ternary Colors]; 10. Micro-montage [Micro-Editing]; 11. Obscurité [Darkness]; 12. Cadre large (espace ouvert) [Wide Frame (Open Space)].

Recording of Ricardo Mandolini's Las claviculas de Salomon. This work includes sound materials of various origins that are arranged in a form close to 'ABA'. This piece includes sound samples from 3 different pieces by the composer including trumpet and guitar instrumentals. The final section returns to the materials already presented.

Recording of Teodoro Pedro Cromberg's Combustión. One of the composer's goals with this work was to highlight the opposition between nature and the artificial world and has segmented the piece into two contrasting parts to represent both. The organic sound materials in this work were recordings taken of various birds at the Argentinian Pampas as well as typical camping sounds.

Recording of Pablo Cetta's Como explicar el Rojo. This is a work for alto saxophone and electronic sounds and is divided into three sections. The first and third sections are constructed by structuring pitch in sets that modulate in terms of consonance or dissonance. The central part, in contrast, is developed around slightly tonic sounds or variable pitch sounds. The title of the piece alludes to the question and the answer as well as the difficulty to describe what is perceived by the senses.

Three populations of Southern flying squirrels were studied in the Ouachita Mountains of Arkansas to assess the impact of population subdivision-due to island formation--on the population genetics of Glaucomys volans. One island, one mainland, and one open population were investigated. A 367 nucleotide hypervariable region of mitochondrial DNA was sequenced in individuals from each population. Individuals and populations were compared to assess relatedness. Higher sequence diversity was detected in the open and island populations. One island individual shared characters with both the island and mainland populations. Results support the hypothesis that the mainland population may have reduced gene flow. Also, the island population may have been originally founded by at least two maternal lineages.