Sound recording from the Dallas Genealogical Society conference that was held in Richardson, TX., on March 28, 1992. Side A: Martha Rising discusses solving genealogical problems; tape stops mid-sentence. Side B: lecture continued from Side A; tape starts mid-sentence; applause and tape cuts to a different part of the program at approximately 19:30 of the recording; audio cuts out mid-sentence.

Sound recording from the Dallas Genealogical Society conference that was held in Richardson, TX., on March 28, 1992. Side A: Martha Rising discusses solving genealogical problems; tape stops mid-sentence. Side B: lecture continued from Side A; tape starts mid-sentence; cuts off mid-sentence.

Sound recording from the Dallas Genealogical Society conference that was held in Richardson, TX., on March 28, 1992. Side A: Martha Rising discusses solving genealogical problems; tape stops mid-sentence. Side B: lecture continued from Side A; tape starts mid-sentence; cuts off mid-sentence.

JAC interview of Stanley Fish discussing writing, philosophy, and rhetoric

JAC interview of Paulo Freire discussing critical literacy and pedagogy in relation to writing, philosophy, and rhetoric.

Sound recording of (clip 1) a 1993 meeting about historical preservation in regards to an affordable housing program in the Houston Heights neighborhood in Houston, Texas; and (clip 2) a Texas Historical Commission conference in Houston on Saturday, April 25, 1992, titled: Beginning Program on Access to Historic Places -- Implementing the Americans with Disabilities Act.

Recital presented at the UNT College of Music Merrill Ellis Intermedia Theater in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

If I had some notes to say to introduce the listening, I would say that it is an entertaining music, almost "light" and a sound portrait of Vienna. The argument: a departure by train for Vienna and a wandering in the city. This music, I thought of it as a great resonance of meaning and sounds (the orchestrations of "Orient Express" are disseminated in each subsequent section). And then I tried to make polyphonies of "Acoustic Images" using very different materials: words with meaning, voice and languages, everyday sounds, sound objects or abstract frames, scenes played or scenes of life, song, culturally significant fragments ... And to make these universes meet, I looked for reports of writing spaces, rhythms and flow, stamps ...

The work is based entirely on the bells of the Basilica in Quebec City as recorded by the World Soundscape Project at Simon Fraser University during a cross-country tour in 1973. The three bells are heard at their original pitch, as well as an octave lower and a twelfth higher, but all of these versions are stretched in time, often to twenty or more times their original duration. The extended versions allow the listener to hear out the inner harmonics inside the bells, and in moving inside the sound it seems as if we are entering the large volume of the church itself. The piece is an elaboration of a section of the composer's work Dominion (1991), for chamber ensemble and two digital soundtracks, which is based on soundmarks from all across Canada. Basilica is available on the Cambridge Street Records CD Song of Songs. The 8-channel version of this work was created with the DM-8 computer-controlled diffusion system. Technical note: The work was realized using the composer's PODX system which uses the DMX-1000 Digital Signal Processor controlled by a PDP Micro-11 computer. The principal signal processing technique involves time stretching of the sampled environmental sound with software for real-time …

Recording of Eduardo Reck Miranda's Samba VI. This work belongs to a series inspired by Brazilian rhythms and Brazilian popular music. Most sound materials were sampled from acoustic percussion instruments, but synthesized sounds were also used.

Recording of Matt Ingalls' Silent Cacophony. "Silent Cacophony" consists entirely of manipulated vocal sounds through Barry Vercoe "C Sound". Originally for 4 speakers, it was mixed to stereo with binaural filtering from Tom Erbe "SoundHack". The pre-recorded audio includes unprocessed coughing that with time slowly begins to become electronically manipulated until the sound begins to create harmonies and new interactions.

Recording of Maggi Payne's Resonant Places. The sounds are natural sounds recording in various resonant spaces found in location in the San Francisco Bay Area. Some of the naturally occurring resonant frequencies are emphasized by equalization and signal processing and some sections have additional synthesizers. This new perspective lifts listeners from the aural space into a completely new soundscape exploring the possibilities of these spaces.

Recording of Frank Schweizer's Ari. This piece focuses on sound manipulation, pre-recorded audio, and voice with many moments of stillness and transparency.

Recording of Wlodzimierz Kotonski's Tierre Caliente. For this piece the recorded sonic material was put through a series of digital treatments. The material is based entirely on sounds from nature: whistling of the wind, chirping of crickets, croaking of frogs, the voices of birds, the voices of other living beings, including the thunder of falling stones and even a volcano erupting. The title Tierra Caliente (in Spanish "hot earth") is meant to evoke heat waves in tropical regions, and is the term used in Latin America during the days and nights of intense heat.

Recording of Hildegard Westerkamp's Beneath the forest floor. For tape. Beneath the Forest Floor is composed from sounds recorded in old-growth forests on British Columbia's westcoast. It moves us through the visible forest, into its' shadow world, its' spirit; into that which effects our body, heart and mind when we experience forest.

Recording of Henri Demilecamps' Manège blues. This work is for electronics and voice. This work is a small construction about the blues shuffle riff.

Recording of Elizabeth Hoffman's Sculpture II. for computer generated sounds in stereo sound. This work is a study in digital filtering.

Recording of Maggi Payne's Apparent horizon. This was an attempt to convey an aural impression of the sensations. Sound sources consisted of transmissions from/through space and were from Space Shuttle and Apollo missions, satellite transmissions, and shortwave radio broadcasts. Often the composer chose sections that were full of static and distortion - signals which were reaching unintelligibility. There are Morse Code "crickets" at Bryce Canyon and static "rain" at the Canyonlands. Processing includes heavy equalization, convolving, extreme sample rate conversions and time compression/expansion. This is the third piece in a series of pieces which are based on transformations of human-made or generated sounds, the previous two being Airwaves (realities) and Liquid Metal.

Recording of Marc Tremblay's "Silence...on fait du bruit". The definition of the word noise in the Larousse dictionary has a character that is both amusing and disturbing: "set of sounds without harmony". The piece is divided into two parts: lively and slow. Deliberately anecdotal in the first part, the piece slides towards an abstract atmosphere to discreetly salute the great noise makers that the Italian futurists were in their manifesto: "the art of noises".

Recording of Larry Austin's Accidents two: Sound projections. For piano and computer music. This work extends and substances the original compositional and real-time performance approach from an earlier work. There is an open form, invoking highly evolved improvisational formats and extends the musico-technical resources from the live electronics piece towards hypermedia and subsumes the actual sounds from the original work.

Recording of Roger Doyle's The iron language alphabet. For electronics and voice.

Recording of Jan Oleszkowicz's Métamorphoses de la petite pluie.

Recording of Kristi Allik's Skyharp: Eulogy for an elm tree part II. This work is for electronics and manipulated sound. There are many plucked string sounds, fragments of voice, wind chimes, bells, pre-recorded sound, and synthetically built sounds. The piece begin very atmospheric and slowly begins to introduce the instruments and eventually becoming sonically dense, then resulting to stillness.

Recording of Jonty Harrison's Ottone. This work is for brass and electronics. The sound of pulsed air is explored with electronic processing introduces the piece. Slowly more sound, harmony, and communication is added between the ensemble and the electronics. The sounds of doors, squealing balloons, and spinning cans stay in the background while the brass plays unusual harmonies and melodic figures.