Recording of Alexander Gabrys' Eco-Ethno-Polish-Mountains-Music-Spheroid. This work is composed of four parts on acoustic material borrowed from recordings of authentic Polish mountain folklore. Despite a very advanced technical and sound transformation, the nature of folklore is highlighting its dynamic character. The sound developed from: "gajdy" (bagpipes), "krzapoki" (goat bells), shepherd's horn, Polish violin, and by a pseudo instrument composed of a kind of whip used to flagellate horses.

Faculty recital at the UNT College of Music Kenton Hall.

Concert performed at the UNT College of Music Recital Hall.

Recording of Fred Szymanski's Wavelength. Wavelength was created at the time of the composer's first experiments with waveshaping and iterative functional synthesis techniques. This work culminated in a CD, ANTE-CHAMBER, which was released on Soleimoon/Staalplaat Recordings and then used in part in the soundtrack for \'d2Porte Donnant sur la Voie\'d3, a textural video piece performed at the ICMC 2000 (Berlin). Wavelength is comprised of extended multiscaled sonorities that target periods of algorithmic sound synthesis in an attempt to overcome the division between sound and structure.

Recording of Marco Pedrazzi's Aqua Mater. Composed in Milan in 1998. The composer speaks of water as the symbol (and maybe not the only symbol) of the matrix and of the dynamic of life; the water of the existences. The water is the place where there is birth and death, and it is the place of the beginning where all possibilities have to be realized and all the thigs must go back. In ancient cultures, the sea on our planet and the celestial sea set upon us were always described as deriving from the same nature. The water can be understood as the place of the creation of all souls, with all beings (men, gods, animals etc.) descending from it. To pass the sea means a spiritual initiation, a passage from one being's condition to another one. This work is an homage to this. The work has been composed over a year using huge complex dynamic sounds events, paraharmonic synthesis, and vocal research. The sound events have been generated using complex partials, harmonic shifted and formants synthesis. The parts of this work have been written and synthesized with CSound, edited and processed with Soundhack and Digidesign software. Languages: CSound. Programs: …

Recording of Aquiles Pantaleao's Three inconspicuous settings. "Three Inconspicuous Settings" sums up a varied collection of personal references. Unrealized ideas kept for many years, objects and observations from the composer's daily life and current compositional interests suddenly met in the formalization of this piece. This explains the choice of materials and the overall design of the piece's structure. There is also a distinct environmental inspiration though clear references to nature and the use of environmental sounds are few, invariably disguised within more abstract contexts. But perhaps, more than landscapes or environmental settings, the piece is concerned with mental states or modes of perception. In this sense, the first movement - contemplative and static in its nature - best represents the intention to avoid the composer's usual notion of development as the creation of a "no-goal" state of things was attempted. In this case no particular sense of direction is suggested, and as the movement slowly unfolds, materials freely flow back and forth while avoiding sudden surges and dramatic impacts or conflicts. As such, the piece tries to surface the subjective responses drawn from the observer rather than a meaningful rendering of nature itself. Hopefully this is reinforced throughout the piece …

Recording of Dugal McKinnon's Horizont im ohr. The title is translated literally as "Horizon in the Ear." This composition is regarded as a polymorph by the composer, as it suggests minutia and mass; it utilizes schizophonia through dislocation, juxtaposition, and transformation. The listener becomes both territorializer and the territorialized. Of particular note and emphasis is, per the composer's statement, the sensual physicality of the acousmatic. Horizont im Ohr was produced at the Electroacoustic Music Studios of the University of Birmingham, UK. Dugal McKinnon is a composer of instrumental and electroacoustic music. His output includes music-theater, radiophonic, installation and instrument/tape works.

Recording of Frank Ekeberg's (Dis)integration. For electronics and pre-recorded audio.

Faculty recital was performed at the UNT College of Music Concert Hall.

Wind Symphony performed at the UNT College of Music Concert Hall.

Concert Band performed at the UNT College of Music Concert Hall.

UNT Symphonic Band performed at the UNT College of Music Concert Hall.

Recording of Daniel Schachter's ...Raices Lejanas, Tal Vez.... This composition is described as something like a sound journey through the world of memory, inspired by the friendship between the composer and Luis Zubillaga - one of the outstanding figures of the music avant-garde in South America, who developed during his life a very important work as composer and researcher. Zubillaga died in 1995 and this composition is the composer's tribute, as being "In memorian Luis Zubillaga" serves as the work's subtitle. The idea of this work is to focus on the composer and research looking for his own thoughts, asking for his origins and destiny. Then, the materials used in this work's composition belonging to two works by Zubillaga ("Ambientes" for piano and "Direccionales" for string quartet) have added to them a selection of different ethnic sounds from India's music as well as from the Matico, native to Argentina. The fact that Zubillaga's interest as researcher focused with the same importance on both South American tribes and the music from India, together with the use of extracts of some of his works, give to the whole composition its evocative character. For the composition of this work, all the elements were …

Recording of Ioannis Kalantzis' Bay. b.. This work was composed for vibraphone and live electronics. The content of the work was inspired by the life of a baby in it's embryotic state. The composer dedicates this work to the percussion player, Catherine Herisse, as well as several babies that were born in 1998.

Recording of Yee On Lo's When....

Recording of Herbert A. Mitschke's Kreuzweg.

Recording of Shintaro Imai's Resonant quark. This electroacoustic piece was realized with NeXT computer and IRCAM Signal Processing Workstation at the Sonology Department of Kunitachi College of Music, Tokyo, in 1998. Compositional algorithm, sound synthesis and mixing programs were all written in the software Max. For the composer it was the first experiment on developing his idiom "Sound Creature" by means of microscopic particles in natural sounds. Mainly four sounds sampled from human voice and instruments, moreover each has just one second duration, are used in the piece as musical materials. By being processed via algorithmic granular sampling technique, these are gradually or suddenly changing its timbre and place in space as if dance performance of living creatures.

Recording of Diego Garro's Voci dall’Aldiquà. Many composers and performers in the past, distant or recent, have already explored the possibilities of various utterances achievable by the human voice. This body of research has been put into music-composition in various contexts. Moreover, during the twenty years prior to 1998, the various possibilities of computer processing applied to vocal sounds was widely investigated in order to expand the palette of available timbres and articulations. Voci dall’Aldiquà does not represent a further investigation on computer-based manipulation of vocal sounds, or a stylistic exercise on non-conventional articulation of voice. Instead, in Voci dall'Aldiquá the composer used only certain specific transformations, both in the time and frequency domains, onto a limited set of vocal sounds. When using these manipulations, a sensible use of feedback allowed the composer to create a set of pulsating morphotypes with which he planned to develop a musical discourse dealing, in a rather general way, with the antagonism between human and non-human/super-human. Thus the composer's first concern was the creation of a coherent flow of musical information in which the vocal component is sometimes incidentally predominant and sometimes merely marginal. The title Voci dall’Aldiquà is a play-on-words that means approximately …

Guest trombone quartet recital performed at the UNT College of Music Concert Hall.

Recording of John Young's Liquid Sky. This piece is an exploration of the sound-image of rain. The composer processed various sounds of rain in different environments to create a "larger-than-life" feeling. This work was commissioned by the Ina-GRM.

Recording of Ingrid Drese's L'horloge à feu. The composer's comments about this piece are as follows: This old Chinese fire clock was made by spreading combustible powder in a labyrinth. It was ignited in such a way that the combustion spread slowly. The time was read from the progress of the combustion. Labyrinths were mostly in the form of mandalas, so such a clock was a model, a relatively closed system. When a certain energy process had taken place inside a pattern, a time interval was also coming to an end. In this instrument, "time" is represented by an internal current of energy moving within a certain pattern. Chosen as a symbol, the fire clock shows the interdependence of time, energy and space, or even the coexistence of phenomena. A multi-track piece, the space is delimited by point-sources organized in two squares - interior/exterior, so like this clock, the sounds evolve in a system, a relatively closed space. The square thus includes the notion of what limits, of what surrounds, of what encloses, of what protects. The breach in the circumference of the labyrinth shows where the system is open to human intervention. Temple or walls, there is the will …

Recording of Fabián Esteban Luna's Emulaciones. Emulaciones are created based on the manipulation of several musical parameters under two concepts: predictable behavior and unpredictable behavior. Emulaciones are created entirely by Csound software by means diverse synthesis: FM, additive, FOF, Granular and Karlplus-Strong. This was carried out on a PC 486.

The piece is comprised of four main elements: vocal chorus, spoken text, melodic percussion, and non-pitched percussive effects. The spoken text is a popular adaptation of Psalm 23 which is treated freely and recited in both English and German. The melodic percussion is a plucked-string and chime combination instrument (which sounds a bit "gamelan-esque"). And the percussive effects consist of various treatments of the other elements. A fifth element, a pitched white noise instrument with a moving center band width, forms the back drop for the work. As the title implies the work is a lament of war, in which the main elements weave in and out, fighting to gain prominence in the foreground and/or slipping away into the background. The form is basically that of an arch. The first half is dominated by percussive elements. At the top of the arch, vocal elements gradually take over to dominate the second half.

A faculty recital performed at the UNT College of Music Concert Hall.