Recording of Luigi Ceccarelli's "Abominable A" for magnetic tape. The piece includes the voices of Kadigia Bove, Francesca Furlanetto, Eugenio Giordani, Luciano Martinis, Michela Mollia, Achille Perilli, Marina Poggi, Enrico Pulsoni, Giovanni Puma, Kerstin Riemer, Claudio Rufa, Stefano Scodanibbio, Gaetano Trusso, and Catherine Verwilgen. The piece contains a recitation of all the words in the Italian vocabulary that begin with the letter A, read in sequence from voices with different stamps, rhythms, and intonations. To these are added other sequences in French, German, and English. The work is divided into fifteen sections, each of which has a different criterion for processing the timbre, rhythm, and space. It was realized at the Electronic Laboratory for Experimental Music at the Conservatory "G. Rossini" in Pesaro from 1978 to 1980.

Recording of Mauro Cardi's Altrove con il suo nome. The text in this work is sampled from "Oggetto d'amore" by Pasquale Panella and the theatric content of the text is reflected in the recording. The sound materials used in the tape is primarily made up of samples from the actress' voice. The piece premiered in Rome in December, 2000 and again in 2001 as part of a larger project.

A guest artist recital performed at the UNT College of Music Voertman Hall.

Recording of Elizabeth Mara Bossero's Anticlèa. This work was inspired by the meeting of Odysseus with his mother, Anticla, in 'Hades', book XI of the Odyssey.

Recording of Charles Dodge's "Any resemblance is purely coincidental" for tape. The piece aspires to represent the voice of Enrico Caruso in much the same way that Andy Warhol represented the figures of contemporary popular culture in his silk screen portraits: the voice is unmistakably that of Caruso, but with a difference. In "Any resemblance is purely coincidental," an operatic voice searches for an accompaniment: with the original orchestra, with copies of itself, with the piano, and with other computer sounds. The initial attempts are humorous; subsequently, other emotions are evoked until the loneliness of the "great performer" emerges. The voice is made with computer synthesis based on a 1907 recording of the aria "Vesti la giubba" from Ruggiero Leoncavallo's I Pagliacci sung by Enrico Caruso.

Recording of Johannes Goebel's Après les grands tours. This piece is a reference to tours that have crossed the Alps with the use of walking sounds and spoken word taken from "Germania" by P. Cornelius Tacitus.

Recording of Lou Mallozzi's Aquapolis. The sound material is language and ambient recordings. The text is written in English, and has been translated into German and Venetian Italian. There are aquatic sounds, body sounds, and sounds of physical labor. Conceptually, the piece is based on a fictional trans-historical walk through an aquatic city, loosely based on Venice. The piece is in four sections: Preamble, 2000 Years Ago, 200 Years Ago, and This Year.

Recording of Luigi Ceccarelli's Aracne. This work is based off of a text by Guido Barbieri and was written as a radio play. This piece was produced and created in Rome at the CRM - Centro Ricerche Musicali and at Edison Studio. It was staged for the first time at the Roman Aquarium in June 1996.

Recording of Francesco Giomi's Arrisi.

Recording of Jorge Rodrigo Sigal's Babel. This work is part of a larger CD project called "Manifesto". The piece is meant for flute, tape, and optional live electronics. The sound materials were recorded in Spain, France, and Mexico City. The composer dedicates this work to Stefano Scarani and it was premiered by Mr. Harrie Starreveld.

Recording of Takehisa Kosugi's Catchwave 71.

Recording of Patrick Portella's Caterina. This is a work for electronics that is meant to represent sensuality as well as the violence of sound. It premiered at the Futura 96 ​​Festival in Crest.

Recording of Diego Dall'Osto's Chiusi nel sogno. The composer writes about this piece as such: These five fragments, essential marks of inner activity, are interpreted and fixed in some of the infinite possible proposals within the ephemeral and utopic musical space. They are divining signs of sounds/sense, participating and singing in an invincible conflict, between understandable shape and an uncontrollable flux. "Chiusi nel sogno intatto di uscirne, chissà come, immuni..." ("Closed in the untouched dream of leaving it, somehow, immune"), a dream like a daily illusion and like useless hope to come out unharmed, safe from the illusion myself. The musical fluency has, then, in the sequence of time a dizzy fugacity and listening will be then the most careful way to get the nuance, sonority, relationships, enigmas, resonances, dizziness and significance.

Recording of Frank Royon le Mée's Complices, pour in lendemain fête. Extracts from the three big hours of the office for a day-after party. For voice, processing device, magnetic tape, analog synthesizers. The vocal sequences have been elaborated and are sung by the composer. For Complices, techniques used: singing with harmonic (2 voices), Tibetan singing. Complices: made following a study visit during the spring

Recording of Luigi Ceccarelli's Il Contingente Cambia Colore, installation for 4 tape loops with concrète sounds.

Recording of Luigi Ceccarelli's Dall'alto. This is an electroacoustic work that includes Italian spoken word that describes the act of floating above the world in observation of the land and sea below.

Recital presented at the UNT College of Music Concert Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree

Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Lecture recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Lecture recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Lecture recital presented at the UNT College of Music M232 in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recital presented at the NTSU School of Music Concert Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.