Recording of a Jazz Lecture Series presentation by Mel Lewis on March 8, 1983 at 2:30PM at the UNT College of Music. Includes lecture and performance by Mel Lewis, drums, interspersed with questions from the audience.

Interview with Judy Smith, Irene Sanders, Lt. William Jackson, Norman Dykes, residents of Baytown, Texas during Hurricane Alicia. They discuss their experiences and memories of Hurricane Alicia.

Interview with Bob Kalbitz, speaking of the insurance losses after Hurricane Alicia hit in August 1983. Kalbitz describes in depth the insurance claims, and the damages brought on by the Hurricane, and a few anecdotes concerning insurance laws passed in Texas during the 1970's.

Interview with Jerry Traylor, Miller Casey, and Mike Prewitt, who were Public Works employees during Hurricane Alicia. Topics include memories of Hurricane Alicia and the aftermath.

Recording of Larry Wendt's Broken Crystals, from "World-Class Technology." It is an extended narration piece that takes the form of a personal recollection. It is narrated by a Silicon Valley worker who works for an integrated circuit foundary that grows garnet crystals for the manufacturing of bubble memory. The factory is overcome with insects that destroy the crystals, and, in response, Silicon Valley is bombed with Cane Toads in order to get rid of the bugs. As a performance piece, the narrative would be read live while the background tape of manipulated environmental sounds along with a vocal processing device to allow immediacy to the live performance. Sometimes performed with theatrics or projected slides.

In this admirable poem, everything is included: rhythm, velocities, movements, spaces, materials, numbers and form. Music puts at the service of the text natural images / movements, their synthetic imitation and transformation chosen for their expressive character. Of symphonic character by the wide variety of sound sources, the mixing creates uniformized energy textures, of melted character, vertical, or, on the contrary, contrapuntal chains. Exile: moment of transition between two worlds ... Directed at the analogue studio Métamorphoses d'Orphée, Musics & Research, Ohain (Belgium) with the radio creation fund of the French Community of Belgium for the new version.

Interview with Jean Shepherd, Leon Warner, Fletcher Hickerson, residents of the Baytown area during Hurricane Alicia. All three women answer questions and elaborate on their experiences during and after Hurricane Alicia causing major damage in the surrounding area.

Interview with Mrs. Walter Balloon, from Silver Point, Tennessee and daughter of a preacher. The interview includes discussion from Mrs. Balloon on prominent figures in and around the church, with a focus on her father (Thomas Henry Busby) and G. P. Bowser. The interview also incudes Mrs. Balloon recounting her childhood.

Interview with Norman Dykes, Lt. C. E. Shaffer, Sgt. Gary Cochran, Officer James Thornton, and Officer Roger Clifford, residents of Baytown, TX during Hurricane Alicia. They discuss their memories of Hurricane Alicia.

Interview with Marcine Lanham, a Red Cross volunteer after Hurricane Alicia struck the Gulf Coast of Texas, and Jean Shepherd. Lanham and Shepherd both share their memories of the aftermath of Hurricane Alicia including work with the Red Cross helping clean up the damage caused by the hurricane.

Recording of Charles Dodge's "He met her in the park," poetry by Richard Kostelanetz. The poem consists of a boy-meets-girl story that is told eight times, and the retellings abridged versions of the previous ones, sometimes reversing the gender roles until the final retelling is just "He met her in the park." In the composition, the lines are read by a male and female actor alternating lines and each telling of the story is articulated in a different way. The voices are synthesized with melodies, and over the piece, the voices become understood more like music which echoes the original language.

Recording of Kristi Allik's "What if...". The title refers to the composer's most common thought during the creation of the composition; the work was the result of constant questioning and exploration, mainly in the area of timbral synthesis and sound juxtaposition.

The kendang is a Javanese drum. In Javanese music, the drum sounds are onomatopoetic, that is they are duplications of spoken language. An appropriate kendang player, however, will always tend to enrich his sound repertoire by imitating arbitrary sounds of the environment. My composition Dialogue refers to this. First the computer-generated sounds are introduced in an onomatopoetic way and imitated by the kendang player. Then the computer sounds develop in a way as to move finally far beyond the expressive power of the kendang. The natural and the synthetic sounds enter in a heavy conflict leading to a climax. The contrast is, however, bridged eventually by fragments of the Javanese music "Subakastawa" in the tender Slendro-9 tuning. The piece was created at Utrecht Muziekcentrum on the 24th of January 1984 with the collaboration of the Javanese kendang player Supangah Rahayu (Paris).

Each year, in the early days of spring, we bloom a high restoir at the foot of a large canvas depicting the half-naked Saint, escorted by two bishops with large mitts, gloves and white pumps with gold.Each flower, each candelabra, every grain of incense consumed seemed to revive, and for a few hours only, the whole scene. The blood flowed again on a base of matte skin, slowly the eyelids of the Martyrdom became animated, the movements of the head and the bust revealed the painful efforts of a kind of arrested march. What the eyes of a trained witness could detect, like us, these otherwise imperceptible details; every year, we thought we were seeing new arrows against him unchecked. Mille flèches, is the music of the repository.

Crying the Laughing and Golden is a tape work created in 1983 at the electronic studios of Sweelinck Conservatory in Amsterdam. The sounds of a woman laughing and whispering form the basis of most of the sounds in the piece. Studio techniques of multi-tracking, layering, filtering, and modulation were employed as well as synthesis of original sounds. The composer evokes the inner world of a woman's mind, evoking various emotional states of eroticism, violence, joy, fear and ultimately calm. The work has been presented several times in such cities as Amsterdam, Brussels, Heidelberg, Kassel, Los Angeles, New York, Memphis, Atlanta, and Boston. It is the soundtrack for an experimental video by Paul Muller entitled Reflections in a Sound Mirror which has won numerous awards in Milan, Montreal, Sienna, and Berlin. The video was recently acquired in the permenant collections of both the Stedelijk Museum, Amsterdam, and the Department of Visual Arts of the Dutch government.

"Divertimento Nostalgico / 4 Puertas", is an electroacoustic work. The variety of the language used characterizes it as divertomento, since in it very simple modal or tonal melody lines are interlaced in search of a more complex language or sound discourse. These lines or melodic games, are transformed at times into a material of great density producing and proposing a strange and different way of sound relation. At other times, traditional music emerges as an auditory need, as an act of repose. The almost infantile counterpoint becomes adult complexity, the dislocated game passes from the known to the surprising and in the same moment it is recognized again. Doors are surprises behind which there is always something ... Nostagia can appear anywhere ... music is a memory. This work was composed in 1983, in ARTE 11.

Recording of Alcides Lanza's Sensors IV performed in 1984 by the McGill Concert Choir, conducted by Christopher Reynolds. The tape was realized at the Composer's studio (SHELAN Studio) and McGill University EMS in Montreal, QC, Canada. The piece explores different techniques of vocal wiring, especially the relationship of semantics, languages, and memory. The word "Memory" constitutes the entire text for the piece - using letter sound, recombinations of the word, and adding syllables from other languages that share similar etymology. Recording of the word "memories" -- Meg Sheppard's voice -- is used in the realization of the piece.

Recording of Iancu Dumitrescu Motto : Opera Aperta. Ursa Mare is a music intimately linked to Orphic-incantatory thought and practice, conceived in the spirit of ancestral, intuitive, initiatory and magical music; its aesthetic, like that of some other works, is subordinated to an acousmatic. Through this technique of composition, which is also a mental technique, which effectively penetrates into the orphic space of a "substantiality of color", by discovering the design of a particular species of sounds, "diagonal sounds", which arise from the selective and elastic combination of certain natural harmonics, organized in "diagonal multisons." It is by the "diagonal," by a sensitive sound thought, that we succeeds in discovering the subtle connection between native (concrete) sound, classical instrumental sound, the sound of special instruments and electronic type sound, at the same time as performing a synth between the archaic (suggested by the echo of traditional Romanian and foreign instruments) and modern, within the same artistic thought.

This is a co-production between the studio of the Technical University of Berlin and the Ghent IPEM Studio in 1984. The piece continues the line narrative of my other electroacoustic compositions, such as Fabulas, Fabulas segunda parte or El cuaderno del alquimista ("the notebook of the alchemist"). Charly finds inspiration in the science fiction fiction Flowers for Algernon ("Flowers for Algernon") by Daniel Keyes. This classic of the genre tells the story of Charly, mentally handicapped who, thanks to a surgical intervention, will become a genius. By testing a haunting insight, Charly discovers that the effects of the operation are reversible: he will return to his original disability. The piece does not follow a mirror shape, as the text might have suggested in the first term, but, through the various electroacoustic procedures, it proposes a perpetual metamorphosis of the materials: a minimalist melodic theme will become a motive of orchestral dimension, to be metamorphosed again into a whispered human voice. The piece is stereo / quadraphonic. Technical collaboration: Folkmar Hein for the Technical University.

The work comes from the analysis of the formal parameters (duration, pitch, accent of the phonems), of the prosody of three poems (canzoni) of 13th Century written by Dante Alighieri, Guido Cavalcanti, Guido Guinizelli on the same subject: the incoming of their loved woman among the men. The relationship between such parameters and the main characteristics of the musical language, which has been already pointed out by many people, has permitted the extraction of the formal model for the composition. We have employed the vocal synthesis model with linear prediction coding implemented on the interactive sound system ICMS, realized by Graziano Tisato, to obtain the formal data and those referred to the phonems of the poems. Such data have been opportunely processed by Pascal and Fortran programs and employed for the synthesis and signal processing by Music V, Music 360 and ICMS programs. The work was commissioned by RAI and realized with the resources of the Centro di Sonologia Computazionale, University of Padova. The natural voice in the piece is Lorenzo Rizzato.

The National Museum of the Pacific War presents an oral interview with Kenneth Olsen, J S Gray and Paul Spain. These men were prisoners of war on the Philippines and share anecdotes of their captivity. Olsen also tells stories from his time in captivity in Japan. Paul Spain shares a story about rescuing an American flag and keeping portions of it throughout his captivity. They also discuss their weight upon being liberated.

This work is born from the desire to deepen research on harmonic spectra. There is no fixed notes, but almost nothing but timbres.These first appear superimposed before becoming denser before becoming a moving crowd, each time faster. In fact it is impossible to separate the search on the timbre from that of the duration. The first sequence ends with a quiet, perfectly tonal chord (major thirds overlaying each other). Further, the signals are shorter, they appear with oppositing attacks of hard and soft, rising gradually in the spectrum until the treble and the bass meet, approaching and moving away like a circle who would breathe; the signals that have become very brief become a cloud of impulses that now escape the timbric and spectral perception: "pizzicati" mutants in space. From this almost involuntary abandonment of timbre is born the last sequence of sinusoidal signals turning into a space that has become completely colorless and immobile. With the brief reappearance of the initial beams the work ends leaving only the frail signal of a minor third: the central La-Do as the end-beginning of the sound universe.

Recording of Iancu Dumitrescu's Motto: Opera Aperta. Ursa Mare is a music intimately linked to Orphic-incantatory thought and practice, conceived in the spirit of ancestral, intuitive, initiatory and magical music. Its aesthetic, as well as that of some other works, is subordinated to an acousmatic (...). By this technique of composition, which is also a mental technique that actually enters the Orphic space of a "substantiality of color," the discovery of a particular kind of sound, the "diagonal sound," arises from the selective and electrical combination of certain natural harmonics, organized in "diagonal multi-sounds." By the "diagonal," a sensitive sound thought, one succeeds in discovering the subtle link between the natural sound (concrete), the classical instrumental sound, the sound of the special instruments and the sound of electronic type. At the same time, this piece operates as a synthesis between the archaic (suggested by the echo of traditional Romanian and foreign instruments) and the modern within the same artistic thought. URSA MARE seems to be something more than a type of spirituality incarnated in a work, namely an approach towards a new musical world, towards a new creative reflection…

"Pain" was realized with two of PDP-15 computers at the Institute of Sonology in the Netherlands, using real-time computer sound synthesis technique and some computer-controlled analogue equipment. Compositional programs are written in FORTRAN and sound synthesis programs were written in PILE that was the language for the real-time computer sound synthesis developed by Paul Berg. This piece was premiered in Utrecht in 1983, along with the following text: This piece is based on my experience in the white room in spring 1980. In that time my ex-professor Yoshiro IRINO was seriously ill. He was dying in the bed in the cold, white hospital room. I took care of him, listening to his breathing as proof that he was alive, to the dropping water in the plastic tube as if it was counting a little of the rest of time, and to the sound of a white wall. Sometimes I felt an emptiness and sometimes a tragedy and a sadness. Pain attacked him, it was getting frequent, and his breath was getting confused. ------ In spite of three months of medical treatment he died on June 23, 1980. After his death I felt not only an emptiness and sadness but also …