Recording of Eric Chasalow's Left to his own devices (To Milton Babbitt at 80). In this work, the composer combined archival interviews with Milton Babbitt with a virtual RCA synthesizer. This music draws on quotations from Babbitt’s instrumental music performed by the sounds of the RCA. The text composited of phrases that Milton has spoken many times over the years. The composer has tried to intensify these phrases by building a dramatic, musical structure both from them and around them.

The business language of communication is the starting point of my septet. The language is broken down here in their smallest elements. By this there is not a semantic relation, but a phonetic plain which has come into being. The singer uses vowels, diphthongs, later consonants. The parts become more and more full of noise and have only heard the explosive consonants. At the same time, the electronics continually envelope the part, and after the time of the greatest modulation.

Jazz Lecture Series presentation by Bob Berg on March 4, 1986 at 9:30AM at the UNT College of Music. Includes lecture and performance by Bob Berg, saxophone, interspersed with questions from the audience.

Jazz Lecture Series presentation by Eddie Daniels on April 8, 1986 at 9:30AM at the UNT College of Music. Includes lecture and performance by Eddie Daniels, clarinet, interspersed with questions from the audience.

This piece uses concrete sounds, not retouched, of our urban environment (circulation, industry, trade etc ...) contained in an electronic framework. The title thus refers to the place where these two antinomic elements meet in an incessant conflict, symbolizing in this the games of tensions, contrasts, movements in delta, omnipresent in the work. Completed in June 1986, this work was produced in McGill University studios in Montreal using Synclavier II and DX-7 synthesizers. It has also received support from the Canada Council for the Arts.

Quartet was written in 1978 and the tape portion was performed at the Columbia Princeton Electronic Music Center. The work includes an introduction that presents all the harmonic material and patterns used throughout the rest of the piece, followed by three main parts developed in the form of an arc. The outer parts of the arch are very close to each other, with the central adaggio for horns alone giving the contrast and serving as keystone to the whole structure. The performance heard on tape will soon be released on CRI disk.

Eclipse reflects the ongoing interest of the composer in evolutionary processes as models for musical ideas evolve simultaneously, but their evolution also reflects their interaction with each other. There are areas of predominance for the different musical entities and periods during which each is dormant. The large scale form of the 20 minute piece is in two halves of almost equal duration. The first half is itself in two parts during each of which a different type of musical element is predominant. In the second half of Eclipse there are more struggles for predominance among the materials.

"Lag" is built with a material that is both concrete and synthesized, where electronic sounds play an impersonal, imitative role while the concrete material, consisting of various short musical excerpts that have a great significance for me, is deeply processed. and thus an electronic appearance. Gradually, during the piece, which has the shape of an inverted arc, these functions are so altered that in the end the relation is opposite. Order of the Swedish Radio, composed in 1986, this music is dedicated to my brother for his sixtieth birthday.

Orchestra concert performed at the UNT College of Music Concert Hall.

Interview with Louise Travis, a resident of Baytown, TX since approximately 1920. Mrs. Travis discusses the early history of Cedar Bayou, including businesses, commerce, law enforcement and recreational activities, and meetings of the Ku Klux Klan and early storms of the area.

Interview with Barney Webber, a resident of Baytown, Texas since 1920. Webber answers general questions and describes life in early Baytown including crime, schooling, transportation and social life.

The Pear Story is a video stimulus commonly utilized in language documentation where speakers are shown the silent six minute video and then asked to describe it. In the video, a young boy steals a basket of pears from a farmer, then shares the stolen pears with three boys. This is a recording of Gopendro’s retelling of the Pear Story.

Jazz Lecture Series presentation by Dave Weckl on February 25, 1986 at 2:00PM at the UNT College of Music. Includes lecture and performance by Dave Weckl, drums, interspersed with questions from the audience.

Jazz Lecture Series presentation by Bob Berg on March 4, 1986 at 2:00PM at the UNT College of Music. Includes lecture and performance by Bob Berg, saxophone, interspersed with questions from the audience.

Jazz Lecture Series presentation by Hal Galper on April 1, 1986 at 2:00PM at the UNT College of Music. Includes lecture and performance by Hal Galper, piano, interspersed with questions from the audience.

Jazz Lecture Series presentation by Jim Hall on April 29, 1986 at 9:30AM at the UNT College of Music. Includes lecture and performance by Jim Hall, guitar, interspersed with questions from the audience.

Jazz Lecture Series presentation by Jim Hall on April 29, 1986 at 2:00PM at the UNT College of Music. Includes lecture and performance by Jim Hall, guitar, interspersed with questions from the audience.

Faculty recital performed at the UNT College of Music

Jazz Lecture Series presentation by Dave Holland on March 11, 1986 at 2:00PM at the UNT College of Music. Includes lecture and performance by Dave Holland, bass, interspersed with questions from the audience.

Jazz Lecture Series presentation by Jon Faddis on March 25, 1986 at 2:00PM at the UNT College of Music. Includes lecture and performance by Jon Faddis, trumpet, interspersed with questions from the audience.

Jazz Lecture Series presentation by John Patitucci on March 22, 1988 at 2:00PM at the UNT College of Music. Includes lecture and performance by John Patitucci, bass, interspersed with questions from the audience.

Jazz Lecture Series presentation by Eddie Daniels on April 8, 1986 at 2:00PM at the UNT College of Music. Includes lecture and performance by Eddie Daniels, clarinet, interspersed with questions from the audience.

"Hapsis" is a cello room in its own right. This one indeed is present not only on stage, but also through transformations carried out using digital means, exclusive material of the band. These transformations are not radical, it was not for me, thanks to virtuoso manipulations to "reinvent" the cello, but on the contrary to constantly keep the imprint by the development of some of its characteristics. No unheard sounds, but the meeting between a cello and his double and a constant concern for balance between the two for what I hope to be a small tribute to this instrument. Work done at the INA-GRM in Paris.

Jazz Lecture Series presentation by Dave Weckl on February 25, 1986 at 9:30AM at the UNT College of Music. Includes lecture and performance by Dave Weckl, drums, interspersed with questions from the audience.