The work is based entirely on the bells of the Basilica in Quebec City as recorded by the World Soundscape Project at Simon Fraser University during a cross-country tour in 1973. The three bells are heard at their original pitch, as well as an octave lower and a twelfth higher, but all of these versions are stretched in time, often to twenty or more times their original duration. The extended versions allow the listener to hear out the inner harmonics inside the bells, and in moving inside the sound it seems as if we are entering the large volume of the church itself. The piece is an elaboration of a section of the composer's work Dominion (1991), for chamber ensemble and two digital soundtracks, which is based on soundmarks from all across Canada. Basilica is available on the Cambridge Street Records CD Song of Songs. The 8-channel version of this work was created with the DM-8 computer-controlled diffusion system. Technical note: The work was realized using the composer's PODX system which uses the DMX-1000 Digital Signal Processor controlled by a PDP Micro-11 computer. The principal signal processing technique involves time stretching of the sampled environmental sound with software for real-time …

Recording of Eduardo Reck Miranda's Samba VI. This work belongs to a series inspired by Brazilian rhythms and Brazilian popular music. Most sound materials were sampled from acoustic percussion instruments, but synthesized sounds were also used.

Recording of Hildegard Westerkamp's Beneath the forest floor. For tape. Beneath the Forest Floor is composed from sounds recorded in old-growth forests on British Columbia's westcoast. It moves us through the visible forest, into its' shadow world, its' spirit; into that which effects our body, heart and mind when we experience forest.

Recording of Wlodzimierz Kotonski's Tierre Caliente. For this piece the recorded sonic material was put through a series of digital treatments. The material is based entirely on sounds from nature: whistling of the wind, chirping of crickets, croaking of frogs, the voices of birds, the voices of other living beings, including the thunder of falling stones and even a volcano erupting. The title Tierra Caliente (in Spanish "hot earth") is meant to evoke heat waves in tropical regions, and is the term used in Latin America during the days and nights of intense heat.

Recording of Milan Slavicky's Adventus. The main source of inspiration for this composition was a Czech liturgical tune from Renaissance times which used to be sung during Advent. Its unusual melodic form and great poetic quality inspired a bow-formed composition which uses mostly different vocal phrases of this song, an imitation of an organ sound and finally a tower bell transposed into lower and lower register.

Recording of Tamas Ungvary's Recollections n°1. The tension is obvious during the introduction where sheer inner aggression pounds the listener by means of sonic noise bursts. During the subsequent piano sections the irritation remains, the unsettled rhythms, the apparent harmonicity becoming increasingly dissonant until the next burst. It was the quiet in the internal storm which never ends. Ungvary has created a moving piece. May he never reach Zen. The sound material was produced with UPIC system.

Recording of Paul Geladi's Organ peace III. Organ Peace III is based on sounds made by a wind organ driven by an electrical fan. Organ Peace #1 (Geladi-Steels, Hof Ter Beke, Wilrijk, 24 June 1977) was for live unprepared wind organ and Organ Peace Number 2 (Bruul, St Baafsabdij, Gent, 14 May 1992) was for live prepared wind organ. The present work is based on digital treatment of the live recordings from Organ Peace Number 2. It is about 8 minutes long. The end part (time 2min 10 sec to 7 min 30 sec) can also be performed live. For this purpose, a recording of raw sounds is provided. The live part can be purely live or mixed with the prerecorded part (the tape keeps running while the live part is performed). Live performance: The base material for this is provided as a recording of about 2 minutes long. This recording is treated by rock-and-roll editing or brushing on a digital or analog machine. The rules for doing this are: timing is form 2 min 10 sec to 7 min 30 sec. It may be a good idea to mix in the prerecorded part to get a feeling for timing. …

Recording of Hongfu Mei's From a point.

Recording of Gonzalo Biffarela's Matacos. This piece involves vocalizations alongside low, growling bass sounds and other electroacoustic sounds in the medium and upper ranges.

Recording of alcides lanza's Voo. The lyrics of this composition are primarily in Portuguese, but the composer specifically chose to play with the source material, basing lyrics on poems which appear in NO OUVIDO DO TEMPO/NO OLVIDO DO TEMPO, a remarkable book of poetry by the Brazilian poet and composer Gil Nuno Vaz. Special acknowledgement is given to the Brazilian poet Raul de Leoni (1895-1926), since Gil Nuno Vaz integrated into his own poems some lines from an unpublished book by de Leoni, No Ouvido do Tempo. As a result, the Portuguese blends into Spanish and Italian intentionally, acting as a catalyst joining the notions of Columbus, Italian explorer, departing from Spain to explore the unknown sea; Columbus, whose writings in Spanish showed strong traces of Portuguese and Italian; and the fact that Portuguese and Spanish are the prevalent languages from Mexico to Tierra del Fuego. In addition, by looking at the text in a kaleidoscopic way, "other" words and sentences, in existing or imaginary languages could be encountered. With all these elements, the composer "tells" the story of the opening up of a new world - struggles and religion as icons on the way to modern civilization. Voo is …

Performance recorded in an unknown location.

Performance recorded in the Concert Hall (now Voertman Hall) of the UNT Music Building.

Recording of Roger Doyle's The iron language alphabet. For electronics and voice.

Recording of Sarah Peebles' Revolving life, version I (movements 1 and 6). Inspired by Ono Toshihiko describing a specific flow of the life cycle. Revolving life is a collaborative performance piece for music, calligraphy performance and other elements (which varied from version to version). The sound consists of sampled shoh (Japanese mouth-organ), and processed sampled sound (computer-assisted performance). Influences of gagaku (Japanese court music), folk toys and the sounds of displaced creatures from both N. America and Japan coexist.

Recording of Andrew Lewis' Scherzo. The composer took recording of his three daughters voices together with some musical toys, which makes up the main source material. In their untransformed states these two pools of material form the poles of the work between which the music voyages over a variety of routes. Occasionally the journey is straightforward, children transforming directly into toys or vice versa, but more often the music follows a more meandering path, passing through transitory, equatorial realms in which the original sources are less discernible.

Recording of Maggi Payne's Apparent horizon. This was an attempt to convey an aural impression of the sensations. Sound sources consisted of transmissions from/through space and were from Space Shuttle and Apollo missions, satellite transmissions, and shortwave radio broadcasts. Often the composer chose sections that were full of static and distortion - signals which were reaching unintelligibility. There are Morse Code "crickets" at Bryce Canyon and static "rain" at the Canyonlands. Processing includes heavy equalization, convolving, extreme sample rate conversions and time compression/expansion. This is the third piece in a series of pieces which are based on transformations of human-made or generated sounds, the previous two being Airwaves (realities) and Liquid Metal.

Recording of Jan Oleszkowicz's Métamorphoses de la petite pluie.

Recording of Ake Parmerud's Retur. The melodic and harmonic structure of Retur (Return) is based on some transcribed phrases from a saxophone solo by Charlie Parker. This is one in a series of compositions concerned with the composer's relation to music historical artefacts. Retur is a kind of musical letter, written on the paper of time, addressed to the sender of the original musical message, Charlie Parker. The piece was written for The Stockholm Saxophone Quartet and was commissioned by the Swedish Institute for National Concerts.

Recording of Frances White's Trees. For two violins, viola, and tape. This work is made up of three movements and contains very long, quiet sustained notes in the strings and processed recorded piano sounds in the tape. The initial idea for this piece was to make a composition for tape and string instruments in which the strings would extend the decay portions of the tape sounds. The sound the wind makes in trees, and about the way they exist in time: we tend to think of trees in terms of space more than time, simply because their tempo, as it were, is so slow.

Recording of David Keane's Tarantelle.

Recording of Elizabeth Hoffman's Sculpture II. for computer generated sounds in stereo sound. This work is a study in digital filtering.

Recording of Francesca Ancarola's Loop 2.

Recording of Stephan Dunkelman's Rituellipses. Rituellipses is music of "sounds in movement," made by and for dance. The sonic objects, made from fragments of concrete or instrumental musical patterns, are pulled as if by centrifugal force. They follow each other in continuous rotational movements that only silence can suspend. These studies of trajectory combinations are developed in short movements that are alternately lively, calm, restrained or uninhibited. Equilibrium had been achieved when the whole appeared to be multipliable-complete yet expandable.

Recording of László Dubrovay's Ear-Music. The piece was written for the chamber ensemble EAR. One of the 3 digital synthesizers uses its own sounds, the other 2 being modulated by an analog synthesizer. The trumpet sounds are modified in the same way using a microphone. It is thus possible to carry out very interesting transformations on the stamps. These new sounds and sound processors build the musical language. The melody, consisting of oscillating sounds after various transformations, develops and achieves perfect clarity and harmony with the surrounding elements at the end of the piece.