"Industrielles" consists of a series of continuously evolving structures which resemble variations. Realized in the computer music studio at Northwestern University during the early winter months of 1988, the work is intended to reflect the stark, alienating atmosphere of a deserted industrial landscape at night.

Recording of Heinrich Taube's Wilderness of Mirrors.

Recording of Henri Kergomard's Drân.

Piece in six movements of concrete aesthetics, but extended by other sound objects of transformation and synthesis of time. The writing of the stereo space is essential for the diffusion and spatialization in concert on an orchestra of speakers (acousmonium). The listener can hear the excerpt of a poem in Italian, which says: "The pennies, that come the sous, and I will drunk an entire nation" It was composed at the Conservatoire de Gennevilliers, and created in 1989 at the INA-GRM acousmatic music cycle at Radio France.

Recording of Chris Chafe's Backtrace.

Shimmering is one of two pieces that fell out of an earlier piece. At the outset it consisted pretty much of just a few strands of interesting musical material, material that seemed to invite a straightforward presentation of about five to seven minutes. While working on what I thought was to be a one-idea piece. I found myself treating the material more and more like modeling clay -- stretching it here, tearing off a dab there, sticking it on somewhere else, rolling it all into one big ball when I got stuck, pulling it apart again and again, continually molding it into different shapes. The result is something I never would, and never could, have anticipated. None of the threads of melodic filigree were actually composed; in the process of mixing patches of textures they seemed to just happen, in turn suggesting larger stretches of that and other kinds of textures. I feel the piece is both an exploration of the nooks and crannies of the composition process, and of reactions and responses to the particular and often peculiar ways in which the medium of computer music suggests and informs that process. In the final analysis, the piece is less …

The composition is a soundtrack for a video piece, realized using contemporary computer animation techniques. The 6 main shortly, condensed movements are: I. Think/Sing, II. Open/Close, III. Bed/Dream, IV. Feared/Frightened, V. Blood/Faces, and VI. English/Blond.

"Prometheus Kommt" is a composition commissioned by NOK Korea. The premiere of the play took place in 1988 at the Olympic Stadium in Seoul. The first part (the legend of the fire) was played in monophony during the torchlight procession and the transfer of the Olympic flame; the second part (Harmony) at the final ceremonial by about 2000 speakers. The different sounds (trumpets, tamtam, vocals) were produced and ordered by a program on VAX 11/780. It was necessary to take into account, during the composition, the immensity of the stage, the need to use simple structures (given the number of listeners), the strict organization of the unfolding and the predictable atmosphere in such a situation.

Sproyt Niesko is essentially a work for amplified harp and flute, and electronic processing/accompaniment under computer control. One of the main ideas of this piece was to extend the duet's orchestral range by creating a kind of continuous timbre space, including at one extreme the instruments' natural acoustic sounds, and at the other, wholly transformed and/or synthetic sounds, whose timbres are nonetheless "characteristic" of their origins. The sounds of the duet are at times un-altered, at times wholly transformed, and at times accompanied by very similar synthetic sounds. Precise control over the electronics (timbre) is maintained by the computer, which is led by the performers while following its "electronic score". The computer executes/coordinates the following: reconfiguration of the signal paths (harp, flute, and synthesis), dynamic parameter control of signal processing modules (harmonizer transpositions etc...), reassignment of the performers foot controls to various control functions which control the above, real time analysis of the duet's performance (envelope following) for control over the electronic accompaniment and its synthesis parameters. Sproyt Niesko is intended for live performance. The electronic score is written in Patcher, a software environment developed by Miller Puckette of IRCAM.

... From one shore to another, edge to edge, moving surfaces, irrigated, improbable, architectural, desert, brutal, volatile ... Organic solitudes ... Swarming Cloud ... Travels ... Inner sail crossing, Towards absence ... Towards the immisson ... To the infinity ... Towards... Meetings / Resurgences at the four Cardinals.

The work "Reading a tarot" was created thanks to the use of granular synthesis in real time. It was generated after asking the tarot how to create a piece of music using granular synthesis. His answer about time past, present and future, suggested a sound journey of large proportions that was relatively, easily achieved using GSX and GEMSKX, two granular synthesis programs available in the Simon University PODX system.

Recording of Patrick Fleury's Attracteurs Étranges.

Created with analogue and digital synthesizers for the 20th anniversary since the French May of 68. It was released as part of a collection during the Bienalle of Bolognia in 1988.(COI DISCHI-ITALY).

In Asi el Acero, I tried to marry two very different sound worlds: the steel drum, generally associated with Caribbean music, and the world of electroacoustic music, usually associated with technology, computers and synthesizers. In order to find a coherent ensemble for both, I have done important research in the classical repertoire of steel drum, music by nature very "noisy", very rhythmic and very repetitive. From there came to me the idea of ​​using small rhythmic cells to adapt the fixed idioms to the instrument itself, so its role in Asi el Acero is a very precise rhythmic direction. Concerning the sounds on tape, I used them as extensions of the instrument played live -as a giant steel drum band- whose role would be to accompany the instrumentalist and, more importantly, to articulate the rhythmic structure and produce strong accentuations to give impetus- or in terms of Caribbean music- to "kick" the principal instrumentalist. These tape-like (or computer-controlled) sounds are steel drum sounds, sampled and processed just like synthetic sounds. From a rhythmic point of view, the piece explores the use of the legend and the medieval atmosphere. In plain language, this means that the small rhythmic elements are combined …

Faculty jazz recital performed at the UNT College of Music.

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

Recording of Roger Doyle's Trapeze in full -Moon nights: four acts from an imaginary circus.

Recording of Hans Ulrich Humpert's Approcci a petrarca. This work is made up of five sections, which are voice and electronics. The piece features many sounds such as voice, electronics, writing with a pencil, and sound effects.

Recording of Octavian Nemescu's In Par. This work is for trombone and tape. The title enigmatically announces in a condensed form with the presence of the Hell (infernos) and of Paradise. In the first part a descension takes place, a descent into inferno until paroxysm. Everything develops in a shape of an arc, circle, and wheel. The sonorous flow creates time polyphony.

A guest artist recital performed at the UNT School of Music Concert Hall.

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

Faculty Recital performance given at UNT's College of Music Concert Hall.

Convocation, including a lecture and a faculty recital performed at the UNT School of Music Concert Hall.

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