Recording of Frank Corcoran's Sweeney's Vision. This work is an ecstatic sound vision and musical structure that was loosely inspired by the figure of the schizophrenic poet-outcast, Sweeney, from the Early Irish epic, Mad sweeney Buile Suibhne. The composer considers this work a four-movement "symphony" at the end of the 20th century. This work was commissioned by the Studio Akustische Kunst of WDR, Cologne and was first broadcast by WDR in 1997.

Recording of René Uijlenhoet's Filamenti I. The title of this piece refers to the impossibility of creating a steady, sustaining sound on a harpsichord. This work attempts to work through the problematic characteristics of the harpsichord and in doing so the instrument will not be spared. The composition ends with the "tuning and testing" of a new prototype. This piece was written by order of the harpsichord players Annelie de Man and Thora Johansen, with financial support by the Fund for the Creation of Music.

Recording of Elizabeth Anderson's L'éveil. This piece is the first in a cycle that explores the paradox of opposition in the sense of physical appearance as well as in the psychological reality of mankind. The piece concerns itself with the creation of the universe and its two poles. The idea of contrasts presented in the introduction are then developed on a larger scale throughout the rest of the piece.

Interview with Russell Ellis, a Navy veteran, concerning his experiences aboard the merchant ships USS Santa Leonara, USS Jose Bonaficio, USS Daniel H. Hill, and the repair ship USS Amphion in the European Theater during World War II. North Atlantic convoys; German submarine and aircraft threats; personal observations of civilian conditions in England, Belgium, and France.

Interview with Dr. Edra C. Bogle, a university professor, concerning her experiences in the development of the Women's Studies Program at the University of North Texas. Early interest in women writers; experiences concerning job discrimination; activities with National Organization for Women (NOW) in 1970s; introduction of women authors into her literature courses; activities with the Dallas Gay Political Alliance in 1970s; role in establishment of Gay and Lesbian Association of Denton (Texas) in 1970s; public acknowledgment of being a lesbian, 1978; personal and professional conflict with James W. Lee, chair of the UNT English Department; early stages of the Women's Studies Program, 1988; early courses about women in course offerings of the English Department; her appointment as coordinator of the Women's Studies Program, 1992; coordination of course offerings in women's studies; establishment of a specific course in women's studies, 1994; relationship of gay and multicultural issues to women's studies; views on integrating women's issues into regular survey courses; unsuccessful attempt to establish a women's center; her resignation as coordinator of the Women's Studies Program, 1994, and her replacement by Barbara Rodman; her overall relations with Nora Kizer Bell, Dean of the College of Arts and Sciences; her relationship with Barbara …

Interview with Beth Eakman, a graduate student, concerning her experiences with the establishment of the Women's Studies Program at the University of North Texas. Her early introduction to feminism while a student at Texas Christian University, 1980s; activities with Planned Parenthood in Fort Worth; activities with Choice Dallas; involvement with the North Texas Democrats and Ann Richards's gubernatorial campaign, 1990; break-up of her marriage, 1991, and spousal abuse; stalking by her ex-husband; entry into therapy; enrollment in women's studies courses at the University of North Texas, 1994; organizing the Women's Studies Roundtable; her work with Barbara Rodman in establishing the Women's Studies Program, 1994; establishment of the Professing Women Award; establishment of the feminist newsletter, "The Gaze"; relations between the Women's Studies Roundtable and the Women's Collective; establishment of "Women's 'Her story' Month"; relations with Chancellor Alfred Hurley and the UNT administration; performance by Latina feminist poet Rosemary Meza; contributions of Dean Nora Kizer Bell to the Women's Studies Program; effects of English Department politics on the program; relations with Women's Programming at UNT; importance of maintaining a personal journal; her views of area studies as the future of higher education.

Interview with Roy M. Gee, a Navy veteran, concerning his experiences aboard the cruiser USS Phoenix during the Japanese attack at Pearl Harbor on December 7, 1941.

Interview with Odis Taylor, a Navy veteran, concerning his experiences while aboard the submarine USS Sculpin in the Pacific Theater during World War II. Assignment to the Sculpin, 1941; his responsibilities as a radioman; various patrols off the Netherlands East Indies and in the South China Sea, 1942-44; lifeguard duty off Japan for downed airmen, 1944-45.

Interview with Lloyd C. Cross, a Navy veteran, concerning his experiences while aboard the submarines USS S-45 USS Sunfish, USS Spearfish, USS Pogy in the Pacific Theater during World War II. Pre-war duty aboard the USS California and the heavy cruiser USS Vincennes, 1935-39; Submarine School, New London, Connecticut, 1940; his responsibilities as a fireman; various patrols in the Sea of Japan.

Interview with James Roberson, a Navy veteran, concerning his experiences while aboard the submarines USS Sailfish in the Pacific Theater during World War II. Submarine School, New London, Connecticut, 1942; his responsibilities as a motor machinist's mate; qualification examinations; various patrols off the Aleutian Islands and in the South China Sea; lifeguard duty off the Mariana Islands for downed airmen.

Interview with Jack Callaway, a Navy veteran, concerning his experiences aboard the auxiliary supply vessel USS Argonne during the Japanese attack at Pearl Harbor on December 7, 1941. Appendix includes a photocopy of a newspaper article from the December 7, 1996 edition of the Lewisville Leader titled, "Pearl Harbor survivor recalls 'day of infamy'" by Dusty Rainbolt [2 leaves].

Recording of Luz Maria Sanchez's Radio 1. This is a work for electronics that includes sounds of distorted voices.

Recording of Rubén Hinojosa Chapel's Satélites. This work was created by means of the Fractal Composer system using the calculus of the Henon Map. Most notes were generated by the computer by means of the system's real time interactive capabilities. It premiered in the Havana's XII Contemporary Music Festival.

Recording of Yves Daoust's Fête (3 mvt de Bruits). This is a work for electronics that includes 3 movements: Children's Corner, Nuit, and Fête. This work was commissioned by the Sonic Art Network (Great Britain) in which they asked the composer to create an environmental painting. The dominant element is noise: "smooth" noise, constant noise, and immutable noise made up of the sum of human machines.

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 Paul Dolden's Twilight's Ritual Incantations. This is a work for electronics and was inspired by the concept of twilight, a time between states. He states the the piece stands as a metaphor for the time it was written, situated between millennia. This concept is reflected through the constantly changing density, tempo, and mood.

Recording of Barry Truax's Pendlerdrom. This is a soundscape composition that recreates a commuter's trip home from the Central Train Station in Copenhagen and was made for eight digital soundtracks. This work is available on the Cambridge Street Records CD Islands and the SKRAEP double CD Pendler.

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 Rose Dodd's excess pitch. This is a work for electronics.

Recording of Lutz Glandien's Fear of flying. This is a work for electronics that consists of plane sounds and spoken word.

Recording of Claude Hermitte's Les pensées de la terre. This work consists of various concrete sounds as well as recordings of a piano. The composer references a ceremonial Navajo song and urges the listener to think about the text while listening to his piece. The text speaks on the beauty of the world and the connection of everyone to it.

Recording of Mario Verandi's Fréquences de Barcelone. This work is based on recordings made in Barcelona, comprising a wide range of environmental sounds from different locations. The composer's goal was to stage Barcelona's soundscape, to explore and unveil its dramatic potential through interconnected scenes and perspectives. This piece premiered at the Festival Musica in Strasbourg, France.

Recording of George Budd's Political science. This work is a contribution to the CD compilation "Turntable Solos", curated by Otomo Yoshihide. This was an international survey of the "state of the art" as practiced by a diverse group of artists using only turntables. This composer was chosen to represent Los Angeles.

Recording of Eric La Casa's Chrysalithe. This work is comprised of various concrete sound materials that have been manipulated and assembled together to create a triptych. The composer has titled the three sections as: "L'inspir", "La traversée", and "L'expir". The composition represents a rebirth as well as the "everlasting motion of the self".