Recording of John Winiarz's Music Box Music. Much of the thematic material used is derived from a little bit of music the composer previously composed. The tape is fabricated from the sounds of musical boxes, baby rattles and various noise making toys, as well as a synthesizer.

Recording of Iván Patachich's Water Music.

A recording of Cort Lippe's Music for Harp and Tape performed by Masumi Nagasawa. The piece was commissioned by and written for the harpist Masumi Nagasawa. The tape part is made up entirely of digitally transformed and processed harp sounds which are derived from the composed instrumental part. The tape part was realized in the composer's personal studio and was created using the program MLY. The digital mix of the final tape version, as well as the compact disc master, were done at IRCAM, Paris.

Recording of Cort Lippe's Music for guitar and tape.

Recording of Liviu Dănceanu's Glass Music, Opus 20.

Faculty recital performed at the UNT College of Music Recital Hall.

Guest artist recital performed at the Merrill Ellis Intermedia Theater.

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

Guest and faculty chamber recital performed at the UNT College of Music Concert Hall.

Faculty recital performed at the UNT College of Music Organ Recital Hall.

This piece was my first work in where I explore algorithmic procedures for composition and non-deterministic automatons was my choice for this piece in particular. The work was done on a PC intel 8086 using prolog as the programming environment. The synthesizer used for Shivde was a DX7. The sequencing, micro tuning, rhythm and pitch materials were modified via MIDI by this prolog program that later become into "Escamol", my programming tool for composition.

Faculty concert performed at the UNT College of Music Merrill Ellis Intermedia Theater.

Recording of Alden Jenks' Calcululations. It was made in the composer's home studio, using a Yamaha TX802 synthesizer controlled by a Macintosh Plus computer. The computer was running the Opcode sequencer "Vision". It is is dedicated to the composer John McGuire.

Recording of John Duesenberry's Agitato (Ergo Sum). The piece is comprised of six sections, each around the same length. This electronic piece uses a "hyper-flute" sound, trying to accurately mimic the sound of an acoustic flute while also exceeding it in its physical capabilities.

Recording of Amnon Wolman's The Day the Bank Came Through.

The term "lunar" refers to: taking on or relating to the moon. We all conjure (up) different images when we think of the moon. The moon has been described in literature in many ways, some examples are "the landscape of a great glacier" (John Hunt's Conception) and "shadows on the sand" (Kathleen Raine). Although men have walked on the moon and undoubtedly discovered many things, I often wonder what unreported mysteries it holds. The vast black blanket of space sometimes robs our view of the stars; but yet it allows us vaguely to see our moon. This has posed many questions for me, what "fun and games" are being played on the other side of the blanket? "Lunar New Year is my own realization of what happens on the other side.

Composition about mineral's world. Sound are linked and harmonized together following the idea of talking minerals. Sounds synthesized on a YamahaTX81Z. Technical notes: Languages: Basic, Machine language 6510 Programs: C-Lab notator, Digidesign Softsynth, Turbosynth, Steinberg Cubase Midi controllers: Steinberg, Yamaha YME8 Computers: Commodore 64, Atari ST 1040 Tape machines: Revox A77, Teac A1230, Teac A3440 Mixer: Roland M160 Analog signal processors: Cabre AF34 stereo equalizer, Dynacord MDL110, Art Multiverb Synthesizers: Yamaha TX81Z Samplers: Roland S50, S330 Stereo 16bits 44.1Khz

This work is in a phrase from "Doktor Faustus" by Thomas Mann. This phrase ("in art all recently arrived strives towards an unpublished form") has been recorded with the voice of the composer himself (hence his title) in a sampler to, then separate the phonemes and transform them (through digital filters, generators of envelope, loops, etc.) in musical sounds in which, finally the voice is not recognized. The phrase, divided into three inverted parts, is what shapes the work. In each part only the sounds formed with phonemes or phoneme combinations that make up that part of the sentence are used.

It was premiered at the Concerts Phonos, Miro Foundation, Barcelona. Follow the line of the author's instrumental works at this time.

Recording of Dmitri Pavlov's My Native Land.

The original version of this music is provided for eight speakers located at the top of a cube, the listener is located inside. A luminous device allows to play in real time forty-eight diodes distributed in space. Each musical moment includes a different game to "enlighten" the musical score. It is therefore a reduced version in four tracks and blind music.

Recording of Myke Roy's If You Stand on the Log Long Enough, tout le Monde va Partir.

Recording of YeeOn Lo's To the Nameless, in Memoriam.

Recording of Fernando Larraburu and Hugo Pascaner's Transformationes Moduleres.