Program Two pursues the curious affinity between the soundscapes of the Korean transverse bamboo flute, the daegeum (taegûm) and the double bass. Listen to streaming Real Audio of the program: One, Two, Three

— a musical journey from Sheherezade's Persia, to modern-day Shanghai, with two socially climbing instruments: the Chinese two-stringed folk fiddle, the erhu, and the accordeon. Listen to streaming Real Audio of the program: One (both hours)

Program Four looks into composers' sources of inspiration in the past and focuses on the Chinese lute, the pipa, and the viola. Listen to streaming Real Audio of the program: Both Hours

Program Five presents a variety of voices and ways to compose for them. Song translations. Listen to streaming Real Audio of the program: Both Hours

Program Six touches on some of the "infinite ways" composers in the west are still finding to write for the piano. Listen to streaming Real Audio of the program: Both Hours

Program Seven explores the lives of the koto and recorder, "baroque blokes," living across borders in the 21st century. Listen to streaming Real Audio of the program: Both Hours

Program Eight explores the striking, tapping, scraping, plucking, buzzing, and even the "singing", sounds of percussion instruments. 

Program Nine features works for trumpet and guitar.  

The complete opera by Wolfgang Rihm. As students we learned the basic outline of the events that occurred back in the early 1500s — the conquest of one of the most powerful states of the New World, Aztec Mexico, by only a handful of adventurers from an unknown place called Spain. But even the greatest historians are hard put to fully explain why events occurred as they did. In his 1991 music drama, The Conquest of Mexico, German composer Wolfgang Rihm is less interested in explaining events to the satisfaction of an historian than he is in imagining those events to help us understand conflicts in our own time and environment.

In his 1919 The Majority, American composer Charles Ives wrote, “Intimidation has not turned back one transcendent thought or one valuable idea from going where it was destined to go, and doing what it was destined to do.  It may be temporarily delayed, or its species may revert only to propagate in a related form, but brute force (the world’s greatest idiot) has never kept the germ from its divine order.  A black eye never reformed a drunkard, a czar never stopped a free thought.” 

Program Fifteen explores public memory and spiritual transcendence with works of Hans Werner Henze, George Crumb, and John Adams in a program called, “Dies Irae” or ”Day of Wrath.”

Program Sixteen explores the speaking voice in music, known by the German word Sprechstimme or Sprechgesang — a stylization of a performing practice that was connected principally with declamation, poetry, and drama, and only secondarily with music in the 19^th century.

Program Seventeen explores sounds of the violin. In writing for the violin, each composer on this show makes an attempt to weave strands of the western classical traditions embodied in the instrument, with widely diverse threads of late 20^th and early 21^st century multiculturalism  — American, Korean, folk, and jazz — to create a new sound tapestry, revealing the violin as if for the first time to eager ears. 

Program Eighteen shows the humorous side of modern composers, speckled with Carl Stalling's cartoon works.

Program Nineteen introduces the 3 composers writing for CrossSound's 2005 storytelling project, "RainSongs: 3 Antiphonous Tales from Wet Lands," Cecilia Heejeong Kim, Fred Weihan Ho, and Stefan Hakenberg.

Program Twenty introduces the 3 soloists playing recitals as part of CrossSound's 2005 storytelling project, "RainSongs: 3 Antiphonous Tales from Wet Lands," Chan Park, Mei Han, and Fred Ho.

Program Twenty one focuses on new sacred music from primarily former East Bloc countries by composers from Uzbekistan, Hungary, Romania, Estonia, and Tartar Soviet Republic.

Program Twenty-two focuses again on new music inspired by religion and spiritual philosophies – this time of the East — by composers from the Korea, Japan, China, Taiwan, and the United States.

Program Twenty-three introduces the two soloists for the next CrossSound Program, “RiffRaft:” Dimitris Marinos, mandolin, and Saitoh Tetsu, bass. 

Program Twenty Four introduces the composers for the CrossSound Program “RiffRaft:” two Alaskan composers, Philip Munger from Wasilla, and Matthew Burtner originally from Naknek; as well as Korean composer LEE Geon-Yong, and Lithuanian composer Onuté Narbutaité, along with another Alaskan composer, Stefan Hakenberg. 

In “Eight Natural Scenes from the Pacific Rim,” CrossSound Radio celebrates the 2006 Pacific Rim Forum Interdisciplinary Conference on Energy and Environment at the University of Alaska Southeast with a program of compositions on nature by Pacific Rim composers.  In this program, each of the composed natural scenes of the Pacific environment:  tide, forest, mist, valley stream, secluded orchid, water and rock, grassland, and a winter’s sunset, is painted with the pure energy of music. Music by Minoru Miki, Toshiro Saruya, Long Zhou, David Rothenberg, Wei Wu/Ulrich Moritz, Tetsu Saitoh/Sook-Sun An/Suk-Chul Kim/Gwang-Soo Lee.

In “Serial Guitar” CrossSound Radio explores works by some of the most prominent American composers of the last 50 years.  Many of them come to the guitar for the first time in these compositions – mostly the bidding of guitarist David Starobin in the 80’s – with strong musical identities already forged in the Western Art Music tradition.  The result is a collection of pieces of music that one might not expect to hear on the guitar – an instrument better known for music associated with classical music and with traditions from Spain, South America, and American folk and rock.  This is the first of three CrossSound Radio programs that explore works for guitar, both acoustic and electric. Works by John Anthony Lennon, Mel Powell, Milton Babbitt, Tom Flaherty, Roger Reynolds, Mario Davidovsky, Elliott Carter, Barbara Kolb, Il-Ryun Chung.

On June 12^th 2006, on Philippine Independence Day, Hungarian composer György Ligeti, a towering figure of 20^th Century music passed away, and the Juneau Filipino Community, Inc., the oldest organized Filipino Community in the State of Alaska, celebrated 50 years — 3 years before Alaska will itself pass that milestone as a state.  This program, “Songs of Nurturing” celebrates the a cappella choral music of Ligeti, as well as choral music of Filipino composers Jose Maceda and Josefino Chino Toledo.

One is taught to think about the development of western art music as a linear continuum along which both styles and instruments move from the past into the future, from the simple to the complex.  There is Medieval music, Renaissance music, baroque music, classical music, Romantic music, 20th century music, and new music.  Baroque instruments play baroque music, classical instruments play classical music, and so on.  It can therefore seem anachronistic to hear new music played on baroque instruments.  However, given that baroque instruments were relegated to the museum until the late 20th century so-called "authentic performance practices" movement revived them —bringing them to life again in the modern era for the sole purpose of resurrecting a more "authentic" past — it is perhaps not so strange that they now have sort of schizophrenic existence – on the one hand used for "authentic" period productions, and on the other, as distinct-sounding toys for modern composers.

In this program, we'll hear new works for harpsichord, next to pieces for prepared and microtuned pianos.