Sentences was composed between November 1990 and January 1991 to a commission from Nicola Walker Smith with funds made available by the Arts Council of Great Britain. It is for solo soprano and live electronics (two signal processing units and sound projection). The work is essentially for two performers, the live electronic part being detailed and exacting. Texts were chosen from Whitman (an extract from "Passage to India"), Thoreau ("Woof of the Sun") and Shakespeare ("Full Fathom Five" - more accurately a deconstruction/reconstruction of this poem). The vocal material for the fourth song was constructed from isolated elements of the previous three, largely abstract and unrecognizable, fragments of words reordered and reassembled. The work seeks to mediate several "poles": the obvious onomatopoeia linked to word association - "mimesis" - with the more abstract demands of electroacoustic sounds and their combination. So the cycle moves from the declamation of the Whitman - an influence on the Futurists and hence the lettriste tradition - through the symbolic impressionism of the Thoreau to the increasingly fragmented "deconstruction" of the Shakespeare, in which single words conjure up whole images, to the final dissolution into "semantic noise" (Berio's phrase). Sentences was written specifically for the …

Recording of Ake Parmerud's Alias. Alias is inspired by the thoughts on the relationship between the composer, Gesualdo da Venoza, and his art. composed of two opposing movements, the first of which is based upon a fragment of a love-song by John Dowland (contemporary to Gesualdo) has been deconstructed, processed and reprocessed into a set of variations output in a linear fashion. The traditional lute-part has been strongly stylized into a chord comprised of the note A-1 and the first 16 harmonics on top. The function of the plucked string sound is however essentially the same as the traditional lute-part. The second movement is an attempt to sketch a slightly surrealistic picture, This is done using quotations from some of Gesualdo's late motets and occasionally blending with them a Dowland lovesong.

A recording of Curtis Bahn's Vocable vamp performed by Ron Vincent. This piece is based on the voice of New York jazz drummer Ron Vincent. This composition combines the vocabularies of electroacoustic music and jazz by employing algorithmic compositional procedures to reorder and mix Ron's jazz vocables.

A recording of Justice Olsson's Up!

Recording of John Rimmer's Beyond the Saying. This work transforms a recording of the composer saying the phrase, "You reap what you sow". There are five main types of sounds. These sounds include a brush stroke-like gesture, arch shapes of sine wake-like sonorities, stretching in time of individual words, diphthong sounds, and displays of percussive consonants. It was composed at the Computer Music Facility, Centre for Arts, Simon Fraser University in Vancouver, Canada.

Recording of Sani Nicola's, Percorsi Ondulati. This piece is inspired by the picture Sentieri Ondulati by the American painter Jackson Pollock, hosted in The National Gallery of Modern Art in Rome. There is a biographical sense in the meaning of the title and the composer. This piece utilizes sound from flute from ancient Dervish music, the voice of John Cage, and electronic sounds reproducing percussive sounds. These sources are repurposed and represent recurrent thoughts in the composition.

Recording of Wende Bartley's, In the light shadows fall. This three movement piece features, text from Women and Nature: The Roaring Inside Her by Susan Griffin. The text fragments were recorded and improvised upon by sound poet Paul Dutton. The sounds heard feature a string quartet, recorded vocal material, a Roland S550 sampler, and sounds from a Yamaha DX7.

Recording of Gyula Pinter's, In the confine of time. This piece is eerie and mysterious. The samples used are combined to create an unsettling atmosphere. Throughout the piece voice, loud interrupting samples, sound processing, and dark ambient tones; are combined to take the listener through a musically gestural journey.

Recording of Jean-François Cavro's Traverser les galaxies blessées pour christal et hautbois. Performers must be willing to play 2 instruments (cristal and oboe), sonorities, and different factors. The composer recommends performers work on the virtuosity, the roughness, and the attack of the oboe as related to the timbre of the cristal.

Recording of Katharine Norman's In her own time. In this piece the speaker discusses memories concerning her life in London during the Second World War. Aspects of time and recorded sound replayed and transformed in the present, sound recorded on location, places, and people as they are now and were then also an important feature of this aural documentary.

Recording of Rafael Leonardo Junchaya's Piedra des Qosqo. There is an array of sounds including orchestra, strings, sampled voices, animals, TV shows, percussion, operas, and more. This piece has a comedic feel to it, as the music intensifies there is high pitched giggles and segments of TV shows. Overall this piece blends all these different sound sources to one cohesive work with some humor.

Recording of Katharine Norman's Trying to Translate. In this piece, the polarity between the instruments and tape is explored. During the performance the piano is processed live to enhance independence. The instruments used are tape, piano, voice, and electronics.

Recording of Francis Dhomont's Figures de la nuit (Faces of the night). This piece is about dreams and the concept of one's existence within the night. There are samples of voices, sine tones, nature, and electronically built and/or manipulated sounds.

Recording of William Brunson's Inside Pandora's Box. Formally, Inside Pandora's Box is an attempt to apply film/video editing concepts to the structure of music. Various scenarios are "set" complete with music, dialog and effects and are woven together. Equipment used: Yamaha DX7 II, TX802, TX81Z, Alesis HR16, Akai S1000, Yamaha SPX 1000 and DMP7, AMS RMX 16, Lexicon LXP1 and LXP5 with MRC, MCI JH600, Yamaha DMP7, Dyaxis and Technics DAT SV350 recorders; and Macintosh, MacMix, Sound Designer, Alchemy Performer, Opcode DX/TX editors for computer's and software.

Recording of Frederick Semeniuk's Neanderthals in a telephone booth. This piece takes a telephone voice from AGT telephone lines in Canada and processes the messages using multiple effects and sound manipulation. The work starts off simple and progressively gets more complex, which resembles the exaggeration of technology and understanding our world of communication, which may seem strange to Neanderthals or even kids. AM5477 and Audiotrack were used to create this work.

Recording of Yves Coffy's Ys. This piece is structured around two poems, one read by Jean-Pierre Niogret, "Beautiful City", and the other read by Mohammad, "Charnel-House Vertigo". In the first section, the timbres and the colors are organized around the first text: it overflows with the complexity of rumors, of savors, of secrets, and is progressively wound about by the second text in the language of Mohammad. In the third section, a sort of deep spatial envelope is obtained by the extreme slowing down of vinyl records, and then mixed. This symbolizes the silent crossing of the Medium.

Recording of John Duesenberry's Decline. This piece features "Decline", a poem by Georg Trakl. Most of the sound sources come from bird calls, the poem itself, or a six-note collection by various electronic of solo string timbres. Pairs of these sounds are combined to form new sounds which partake of the timbral and rhythmic characteristics of both sources. The work has three sections; each stanza is recited at the center of each section.

Recording of Vladimir Komarov's Freedom.

Recording of Warren Burt's Talking Greek Theory. This composition is a piece for unamplified voice and computer-controlled synthesizer. In this piece there is a improvisation of the composer speaking about ancient Greek tuning and the voice is going into a pitch-to-MIDI converter. This pitch information is processed by a program that tunes the synthesizer so that it maps 12-tone MIDI output onto one of the 7 tone scales of the ancient Greeks. Additionally, the program also delays the pitch information, so that the same pitches and rhythms can repeat several times, adding a level of counterpoint.

Recording of Jospeh Hyde's Seven Waves. This piece is for instrument, live electronics, and pre-recorded tracks. The flutist in this recording uses lots of extended technique, while the electronics are bases on a Csound system. The pre-recorded track is made up of manipulated flute and voice sounds. Electronic amplification is used on the flute for clicking keys, and mysterious whistling tones. The live electronics similarly function as a kind of microscope, picking out elements of the flute part and bringing them to the foreground.

Recording of Stephen Gibson's Splice culture - Johnny Mnemonic (from Scren 1 of Spasm: the sound of VR). This work uses samples from radio and voice to create a futuristic sounding piece full of sound effects. There is a consistent beat along with the sampled songs which gives this piece a constant groove.

Recording of Allen Strange's Werebeing split personality jazz. The work brings elements of jazz to accompany electronics and speech. There are jazz samples and electronics which help amplify the speakers energy; while giving the piece development.

Recording of David Sheppard's The question of being. This work is for tape, which contains three sections. The sections are taken from a larger electroacoustic work, "The Humorless Puzzle", which helps link transformations between the present and past work. Section one considers the question of being. Section two look at the process of man regardless of the question, Finally, section three reflects upon consideration and progress. The sound were used by making electronically processed sounds.

Recording of Larry Austin's Sound poem set: Pauline Oliveros/Jerry Hunt/Morton Subotnick / David Tudor. It is for computer music derived from recorded conversations, 1988-89, between the composer and compatriot musical adventurers with distinctively etched music-technological profiles, including American experimenters Pauline Oliveros, Jerry Hunt, Morton Subotnick, and David Tudor. Aphoristic utterances were extracted, analyzed, transformed and synthesized with "spectral modelling synthesis" and put through electronic processing.