"Flame Speaker" (1984) was a sound sculpture that converted a gas flame into sound.

Between 1984 and 1987 she she contributed electronic music (mostly composed on a computer) to video artist Ed Tannenbaum, works later compiled on Ahh-Ahh (2012).

Crystal (Lovely Music, 1986) was her first collection of electroacoustic works: the slow-motion organic matter of Crystal (1982), the "cosmic" hisses of Solar Wind (1983), the vortex of breathing and whispers of Ahh-Ahh (1987, an excerpt from her opera Queue The Lizards), the harrowing and claustrophobic electronica of Subterranean Network (1985), the lugubrious Phase Transitions (1989), etc.

In 1992 she was appointed director of the Center for Contemporary Music at Mills College.

The Extended Flute (CRI, 1999) contains three compositions (HUM, Confluence, Inflections) plus her interpretations of works by other composers.

She also recorded natural sounds, but not in trivial manners. Ping (2003) for underwater sounds and Pong (2003) for raindrops hitting a pail were broadcasted live.

Reflections (2003) is one of her flute pieces that involves ballet-like movement.

Her music often referred to deserts of the Southwest. Desertscapes (2014) is scored for two spatially separated a capella women's choirs.

Other field recordings appeared on Arctic Winds (2010).

The 30-minute composition "Immersion" (2018) was played nonstop in a subway station of Berkeley.

Ahh-Ahh (Root Strata, 2012) compiles the live interactive computer music "composed" for a collaboration with video artist Ed Tannebaum in 1984-87.

She also produced video arts and scored dance performances.