Recording of Ake Parmerud's Alias. Alias is inspired by the thoughts on the relationship between the composer, Gesualdo da Venoza, and his art. composed of two opposing movements, the first of which is based upon a fragment of a love-song by John Dowland (contemporary to Gesualdo) has been deconstructed, processed and reprocessed into a set of variations output in a linear fashion. The traditional lute-part has been strongly stylized into a chord comprised of the note A-1 and the first 16 harmonics on top. The function of the plucked string sound is however essentially the same as the traditional lute-part. The second movement is an attempt to sketch a slightly surrealistic picture, This is done using quotations from some of Gesualdo's late motets and occasionally blending with them a Dowland lovesong.

Recording of John Rimmer's Beyond the Saying. This work transforms a recording of the composer saying the phrase, "You reap what you sow". There are five main types of sounds. These sounds include a brush stroke-like gesture, arch shapes of sine wake-like sonorities, stretching in time of individual words, diphthong sounds, and displays of percussive consonants. It was composed at the Computer Music Facility, Centre for Arts, Simon Fraser University in Vancouver, Canada.

Audio cassette from The Black Academy of Arts and Letters recorded during a music performance related event with bands and singers. The tapes audio is well recorded. The tape is labelled "The Family Stand "Chain"" with the dates 1990 and 6/12.

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.

JAC interview of Jacques Derrida discussing writing, philosophy, and rhetoric.

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

Recording of Eric Cordier's Un Nom A Quoi? There is speech throughout this piece and lying underneath is where the electronics create a layer of sound adding complexity and texture to the overall piece.

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 Justice Olsson's Up!

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 Allen Strange's Werebeing split personality jazz. The work brings elements of jazz to accompany electronics and speech. There are jazz samples and electronics which help amplify the speakers energy; while giving the piece development.

Audio cassette from The Black Academy of Arts and Letters recorded during the Black Music and the Civil Rights Movement Concert of 1990 entitled "From Despair to Triumph" featuring R&B singer Melba Moore. The tape was recorded during the celebratory weekend held in honor of Dr. Martin Luther King Jr. on Sunday January 12th at the Meyerson Symphony Center.

Choral concert performed at UNT College of Music.

Lecture given Sunday, February 18, 1990, 7:30 PM at Abilene Christian University

Lecture given Sunday, February 18, 1990, 7:30 PM at Abilene Christian University.

Lecture given Sunday, February 18, 1990, 7:30 PM at Abilene Christian University

Lecture given Monday, February 19, 1990, 12:00 PM at Abilene Christian University

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

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

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

Lecture given Monday, February 19, 1990, 1:45 PM at Abilene Christian University

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