Transience: contemporary modal music results from Cogan's travels in Greece, Macedonia, and Turkey (chronicled in her November 2002 AR article). ..."Cogan composed five of the pieces; world string instrumentalist Ross Daly composed two, and two are from traditional repertories of Turkey and Macedonia. Cogan's compositional work gained impetus from instrument maker Fardin Karamkhani. In the thoughtfully written notes for the disc, Karamkhani is credited with saying that "...to learn other people's music is one thing, but to make your own is, in the end, the only real thing to do." The strength of her creations on Transience make me glad for Cogan's compositional work, but I believe the statement also points us to the necessity of integrating any music we play in such a way that it becomes our own. ..."On For Fardin, she plays two Ganassi recorders simultaneously.... Her technique with two recorders opens new possibilities - thanks to the Ganassi instruments' open fingerings for "d" and "g", and holding the recorder in one's lap. In Absence, Cogan sings while playing over a rhythm texture of udu (Nigerian clay pot drum) and llama (rattles of llama's toenails). The piece that especially grabbed my attention was Nanourisma, a lullaby based on a Greek tune. In this Cogan adeptly sings and plays simultaneously while accompanied by Lewis on Chinese and Korean gongs, Indonesian cow bells and Nepalese temple bowl - a wonderful contrast to the actively dance-like feel of the other pieces. With Nanourisma's ear-cleansing effect, I found myself refreshed and delighted by the final piece Absence.