Recording of Ricardo Mandolini's Poema Reiterado using the voice of Leonardo Martinez reciting Mandolini's own poem "Palabras" in an electro-acoustic composition. All sound material are disengaged from the speech of the spoken text (Sprachkomposition) which embodies the idea of the ancient synthesis between text and music. Realized at the Studio of the Musikhochschule in Cologne, Germany in 1983.

Jazz Lecture Series presentation by Johnny Smith on April 12, 1983 at 2:00PM at the UNT College of Music. Includes lecture and performance by Johnny Smith, guitar, interspersed with questions from the audience.

Jazz Lecture Series presentation by Wayne Andre on April 19, 1983 at 2:00PM at the UNT College of Music. Includes lecture and performance by Wayne Andre, trombone, interspersed with questions from the audience.

Jazz Lecture Series presentation by Jimmy Giuffre on April 26, 1983 at 2:00PM at the UNT College of Music. Includes lecture and performance by Jimmy Giuffre, saxophone, interspersed with questions from the audience.

Jazz Lecture Series presentation by Herb Ellis on April 5, 1983 at 2:00PM at the UNT College of Music. Includes lecture and performance by Herb Ellis, guitar, interspersed with questions from the audience.

Jazz Lecture Series presentation by Wayne Andre on April 19, 1983 at 9:30AM at the UNT College of Music. Includes lecture and performance by Wayne Andre, trombone, interspersed with questions from the audience.

Recording of a Jazz Lecture Series presentation by Clark Terry on February 15, 1983 at 9:30AM at the UNT College of Music. Includes lecture and musical examples by Willis Conover interspersed with questions from the audience.

Recording of a Jazz Lecture Series presentation by Jimmy Heath on February 22, 1983 at 9:30AM at the UNT College of Music. Includes lecture and performance by Jimmy Heath, saxophone, interspersed with questions from the audience.

Recording of a Jazz Lecture Series presentation by Tom Harrell on March 1, 1983 at 2:00PM at the UNT College of Music. Includes lecture and performance by Tom Harrell, trumpet, interspersed with questions from the audience.

Jazz Lecture Series presentation by Bobbi Humphrey on March 3, 1983 at 9:30AM at the UNT College of Music. Includes lecture and performance by Bobbi Humphrey, interspersed with questions from the audience.

Jazz Lecture Series presentation by Herb Ellis on April 5, 1983 at 9:00AM at the UNT College of Music. Includes lecture and performance by Herb Ellis, guitar, interspersed with questions from the audience.

Recording of a Jazz Lecture Series presentation by Tom Harrell on March 1, 1983 at 9:30AM at the UNT College of Music. Includes lecture and performance by Tom Harrell, trumpet, interspersed with questions from the audience.

Jazz Lecture Series presentation by Bobbi Humphrey on March 3, 1983 at 2:00PM at the UNT College of Music. Includes lecture and performance by Bobbi Humphrey, interspersed with questions from the audience.

Jazz Lecture Series presentation by Jimmy Giuffre on April 26, 1983 at 9:30AM at the UNT College of Music. Includes lecture and performance by Jimmy Giuffre, saxophone, interspersed with questions from the audience.

Recording of a Jazz Lecture Series presentation by Willis Conover on February 15, 1983 at 9:30AM at the UNT College of Music. Includes lecture and musical examples by Willis Conover interspersed with questions from the audience.

Recording of a Jazz Lecture Series presentation by Jimmy Heath on February 22, 1983 at 2:00PM at the UNT College of Music. Includes lecture and performance by Jimmy Heath, saxophone, interspersed with questions from the audience.

Jazz Lecture Series presentation by Johnny Smith on April 12, 1983 at 9:30AM at the UNT College of Music. Includes lecture and performance by Johnny Smith, guitar, interspersed with questions from the audience.

Recording of Stephen Montague's "Slow Dance on a Burial Ground." Inspired by multi-traking and over-dubbling in pop music. Montague plays all various individual parts on folk flutes and log drums, playing at various speeds and other manipulations in an electronic studio to create at virtuosic product, even with modest skills on the instruments. The piece is an exploration in "Romantic minimalism," with its monthematic unfolding of a melody in the dorian mode and static harmony, but also with 18th/19th form influence.

Recording of Alain Thibault's Deca-Danse. Using a recording of a speech by President Ronald Reagan, Thibault makes a statement about the destruction that humans cause for one another. Th piece is split into ten sections: 1. Technopolis; 2. You are Loved; 3. Special Emission; 4. President's Message; 5. Reagan's Happiness; 6. Reagan's Delirium; 7. The Most Beautiful Gift of God; 8. Generation x; 9. Mx; 10. Future x. The piece was created at the Studios Bruit Blanc and McGill University.

Recording of Reed Holmes's Carousel for choir and tape. The two movements represent a different aspect in the cycle of life: movement 1 "The Whispering Wind" is from the point of view of the Elder, introspective and thoughtful, and movement 2 "Carousel" is from the point of view of the Younger, rhythmic, aggressive, spontaneous, and freely melodic. The choir adds heterophonic elaborations of the pattern to the second movement.

Recording of Roberto Doati, Gianantonio Patella, and Daniele Torresan's "La materia è sorda" performed by Lorenzo Rizzato (speaker) and electronically realized by Granziano Tisato.

Recordings of Gerhard Stäbler's Twilights "protokolle für tonband gleichzeitiz gespielt mit window" (Ewilights "Protocols for tape played simultaneously with window"). Poems were written by Ernestro Cardenal and other texts were taken out of "NEWSWEEK" issues between Auguest 1 and 8, 1983. Produced at the Computer Center of Stanford University/California.

The title of the work comes from a word Nahuatl which literally means "burning water". Piece quickly explores a sound material frequently associated with maracas, harps, bamboos and a guitar. The live sound of the maracas comes from the traditional rhythmic patterns found in most traditional Latin American music, models that the performer is asked to combine with great dexterity to build wider and very complex rhythmic structures. These rhythmic structures are then confronted with passages of the same complexity on the tape, creating and developing ever more a "star" polyrythm that finally disintegrates. The path is then drawn for a traditional accompaniment game of maracas.

Recording of a Jazz Lecture Series presentation by Mel Lewis on March 8, 1983 at 9:30AM at the UNT College of Music. Includes lecture and performance by Mel Lewis, drums, interspersed with questions from the audience.