In the two performances from which we have collected data, and also on the basis of oral responses to the later performances at Avant Garden, Ultima and the Conference for Music Technology, there seems to be major agreement that the combination of text and music as applied in the “short story of sound” works together as a whole. This is also my own personal experience. One of the comments at the Avant Garden symposium was that the audience would like me to continue, to tell one more story. I have decided, on the basis of these experiences, that I would like to look at other peoples’ stories – rather than my personal ones – and develop other “short-stories of sound” with new text material. The question of identification, which has not been answered, might be something for me to reformulate and investigate further in this work. By using other people’s stories, I will also have a natural choice, and sometimes a responsibility, for directing the performance towards more specific audiences and venues. For example, I could use stories told by homeless people, and choose as a venue the open church that some of them are using as a shelter and a meeting point,. This would elicit some interesting challenges about how I could make this work in respect of both the story’s origins and the audience’s musical references – and at the same time maintain artistic integrity (as discussed above). The project as such has made me more aware of such choices. If my wish is to open up for improvised, partly experimental music through the use of the narrative and identification, the contemporary festival scene is not where this goal is challenged, or needed, the most. A conference for biologists, a seminar for teachers, a school concert – these are perhaps more important venues in which I could explore and direct this part of my work.