Percussion ensembles concert performed at the UNT College of Music Recital Hall.

A shower of grains with an average duration of 80 milliseconds but perceived as a continuous sound produces shifts of changing timbres. The sound source for this granulation made in real time comes from samples whose mathematical data are recorded on a hard disk (it is quanta whose frequency modulation (FM) and the spectral envelope (formants) have been predetermined. ). The reading mode of these data is controlled in a way (as if read stuttering) to perceive as a musical gesture what could otherwise be a succession of brief and irreducible sound events. The piece is a psychological poem that explores aspects of pitch and interval, temporal perception, and timbre in a context of selective listening (auditory streaming). "Fermata via media" was produced (1990) at Simon Fraser University's Electroacoustic Music Laboratory with the help of GSAMX sampling programs for granular synthesis and compositional PDFILX developed by Barry Truax.

Guest artist recital performed at the UNT College of Music Recital Hall.

Lecture given Monday, February 19, 1990, 7:00 PM at Abilene Christian University

JAC interview with Mary Belenky discussing collaboration, composition, and women's ways of knowing in relation to writing, philosophy, and rhetoric.

Lecture given Wednesday, February 21, 1990, 7:00 PM at Abilene Christian University

Recording of Larry Austin's Sound poem set: Pauline Oliveros/Jerry Hunt/Morton Subotnick / David Tudor. It is for computer music derived from recorded conversations, 1988-89, between the composer and compatriot musical adventurers with distinctively etched music-technological profiles, including American experimenters Pauline Oliveros, Jerry Hunt, Morton Subotnick, and David Tudor. Aphoristic utterances were extracted, analyzed, transformed and synthesized with "spectral modelling synthesis" and put through electronic processing.

A recording of Curtis Bahn's Vocable vamp performed by Ron Vincent. This piece is based on the voice of New York jazz drummer Ron Vincent. This composition combines the vocabularies of electroacoustic music and jazz by employing algorithmic compositional procedures to reorder and mix Ron's jazz vocables.

Recording of Robin Bargar's Business as Usual.

Recording of Wende Bartley's, In the light shadows fall. This three movement piece features, text from Women and Nature: The Roaring Inside Her by Susan Griffin. The text fragments were recorded and improvised upon by sound poet Paul Dutton. The sounds heard feature a string quartet, recorded vocal material, a Roland S550 sampler, and sounds from a Yamaha DX7.

Lecture given Tuesday, February 20, 1990, 5:00 PM at Abilene Christian University

Strange Attractors v1.Ob is a composition which involves live interaction between bassoon and computer-controlled electronics and synthesizers. The work was commissioned by bassoonist William Ludwig for the 1990 International Double Reed Society Conference. Strange Attractors uses a Macintosh II computer to control a digital signal processor/mixer, an analog-to-MIDI converter and a Yahama TX802 synthesizer. The controlling software was created by the composer using THINK C and utilizing the Apple MIDI Manager. The Strange Attractors algorithm is a "hyper"-instrument for the bassoon. The hyper-instrument, which resides in the computer, is under the control of the bassoonist through the analog-to-MIDI converter. The reactions of the hyper-instrument translate acoustic performance parameters into computer synthesis and signal processing parameters. Dynamics are translated into spacial location, amount of harmonization, and synthesis, while the number of sonic events controls the synchronization of acoustic and synthesis performance. The hyper-instrument is made of four virtual instruments which progressively become delayed from the sonic event which trigger them. THe voices then become progressively re-synchronized only to become more and further delayed again. This cycle oscillates faster and faster as the piece progresses until the virtual instruments reach their maximum delay. The further along in the piece, the longer the …

The Rom Press was a publishing house in Poland known for its editions of Yiddish poetry and Talmudic tracts. During the Nazi occupation members of the Resistance attempted to melt down the plates of these great literary works and religious tracts in order to produce ammunition. The work employs real time interaction between the cellist and the computer. The computer sounds combine synthesis and digital filtering techniques that are all rotted in a digitally recorded .25 second guiro scrape. Software for the interactive processing was written in Max. Hardware includes a Roland VP70 pitch tracker, a Mac SE/30 with Digidesign SA Card and an Akai S1000 for digital audio and processing. The Lead Plates of The Rom Press was commissioned by Westdeutscher Rundfunk Köln (WDR) for cellist Siegfried Palm.

"Philately" is about role reversal. The work, based on the following poem by Yehuda Amichai studies the distancing and convolution of materials between two performers. The computer and live performer interact to create an intertwined situation of invertible counterpont. "Philately" employs real time interaction between the oboe and the computer. The computer sounds combine synthesis and digital filtering techniques that are all rooted in two digitally recorded oboe tones (one a long D4 with crescendo, the other a double trill on E-flat5). Hardware includes a Roland VP70 pitch tracker, a Mac for MIDI processing, and a Mac SE/30 with Digidesign SA Card and an Akai S1000 for digital processing.

Recording of Marie-Hélène Bernard's Alice au pays des succcubes. This piece is a three-part piece in tribute to Lewis Carroll. The three parts include; "The well must have been very deep, or her fall had to be very slow, for she had plenty of time to look around her and worry about what was going to happen."; "She found herself in a long, low corridor, lit by a row of lamps hanging from the ceiling; there were doors on either side of the hallway, but they were all locked"; and "In her life she had never seen a stranger croquet ground; hedgehogs served as balls, pink flamingos as mallets." This piece is an eerie journey and explores the possibilities of electronic techniques and orchestration.

Incantations and Dances was written during the summer and winter of 1989-90, largely at the Virginia Center for the Creative Arts, the Ragdale Foundation and the Electronic Music Studio of Sweet Briar College. The work was premiered in March of 1990 by the contrabassist Salvatore Macchia, for whom the work was written, and the keyboardist Jeffrey Holmes. The work is a study in real-time interaction between, on the one hand, a pair of live performers, one of whom is playing a conventional acoustic instrument and the other a series of electronic keyboards, and, on the other, a pre-programmed computer partially controlled by one of the live performers. The melodic and harmonic material of the piece is serially derived, as is its formal manipulation, but there are improvisatory elements involved and there is a decided jazz inflection to much of the rhythmic material, particularly in the closing dance.

Recording of Frederick Bianchi's The christo variations. The piece explores the possibilities of the orchestral sound mass. The tape is used to inner-modulate and energize the orchestra and intended to exist as a soloistic component. Throughout the work the orchestra moves as one mass of sound that contains a varied and rich micro-world of musical gesture.

Lecture given Monday, February 19, 1990, 8:30 AM at Abilene Christian University

Lecture given Monday, February 19, 1990, 3:30 PM at Abilene Christian University

Lecture given Monday, February 19, 1990, 11:00 AM at Abilene Christian University

Diskus is composed at EMS in Stockholm. Dizkus I is for wind-guintet and tape, while Dizkus II is for Wind Quintet alone. On layer of the Dizkus I - tape is a kind of "pace-maker", whose role is primarily to indicate tempi and to give clues of orientation to the musicians. The pace maker is entirely based on the Karjelus-Strong plucked string algorithm and the actual sounds used in the piece have been generated on the VAX 11 computer at EMS. The pace maker put of Dizkus I - tape turned out to be of more music potential than I had expected. The idea arised to elaborate this material in a third piece of the Dizkus "family", a pure tape - piece this time. Dizkus III is divided into two parts, the structures of the sound material in the first part is "triggered" by the original sequence of plucked string sounds, the second part of the piece expose the "real" string sounds in various ways.

Recording of Peter Bosch's and Simone Simons Was der Wind zum Wingen Bringt. 48 vacuum cleaners arranged in a circle provide air. This air is blown through rubber appendages into various pipes and rubber appendages creating four different sound groups: 16 open PVC-pipes, 16 metal pipes, 8 closed PVC-pipes and 8 freely vibrating rubbers, each group with its own sound characteristics. The arrangement is controlled by a computer which switches the vacuums on and off according to a score which is displayed on a monitor. This self-generating score is based on the principle of "cellular automata." The compositions generated by the computer gained in complexity due to the use of different procedures for different groups of pipes. In addition to the concept of an auto-composing self-supporting installation, we developed a fixed score with a duration of twenty-four minutes, making finite concerts possible.

"Delusional episode of short duration, bursting suddenly in a subject with a certain mental fragility." Larousse Dictionary My first attempt to make cinema for the ear. A beginning of scenario: a being who looks for himself dark in a fatal delirium. This piece would be divided into two parts: escape / isolation and fantasy / delirium. This scenario fortunately exceeded, I decide to focus on the internal space and its relation with form. I want to thank Francis Dhomont, Kevin Austin and Pierre De Gagné. This piece was made at the studios of Concordia University and the University of Montreal.

Guest artist recital performed at the UNT College of Music Recital Hall.