Jazz Lecture Series presentation by Hal Galper on April 1, 1986 at 2:00PM at the UNT College of Music. Includes lecture and performance by Hal Galper, piano, interspersed with questions from the audience.

Jazz Lecture Series presentation by Jim Hall on April 29, 1986 at 9:30AM at the UNT College of Music. Includes lecture and performance by Jim Hall, guitar, interspersed with questions from the audience.

Jazz Lecture Series presentation by Jim Hall on April 29, 1986 at 2:00PM at the UNT College of Music. Includes lecture and performance by Jim Hall, guitar, interspersed with questions from the audience.

Jazz Lecture Series presentation by John Patitucci on March 22, 1988 at 9:30AM at the UNT College of Music. Includes lecture and performance by John Patitucci, bass, interspersed with questions from the audience.

Jazz Lecture Series presentation by John Patitucci on March 22, 1988 at 2:00PM at the UNT College of Music. Includes lecture and performance by John Patitucci, bass, interspersed with questions from the audience.

Jazz Lecture Series presentation by Jon Faddis on March 25, 1986 at 9:30AM at the UNT College of Music. Includes lecture and performance by Jon Faddis, trumpet, interspersed with questions from the audience.

Jazz Lecture Series presentation by Jon Faddis on March 25, 1986 at 2:00PM at the UNT College of Music. Includes lecture and performance by Jon Faddis, trumpet, interspersed with questions from the audience.

Recording of Eric Chasalow's Left to his own devices (To Milton Babbitt at 80). In this work, the composer combined archival interviews with Milton Babbitt with a virtual RCA synthesizer. This music draws on quotations from Babbitt’s instrumental music performed by the sounds of the RCA. The text composited of phrases that Milton has spoken many times over the years. The composer has tried to intensify these phrases by building a dramatic, musical structure both from them and around them.

Recording of Richard Boisvert and Steve Langevin's Northern Line.

Recording of Burt Warren's Racter and Eliza- A computer opera (of mistakes). For computer voice synthesis. Racter and Eliza are two computer programs which were early attempts at artificial intelligence. The computers were ran by feeding the outputs of one into the input of the other and they were able to interact. Using an Amiga computer little speech synthesis was used, and the voices were fed through a malfunctioning pitch to voltage converter; resulting the electronic accompaniment.

Recollections concludes the Time Past series of works started in 1981. It examines three key ideas in the works of Marcel Proust - time, memory and dreams - in the context of a solo performer struggling to reconstruct the opening of Dante's Vita Nuova. (He's forgotten the words, perhaps even how to speak and is learning the process all over again.) The amplified solo voice is integrated or contrasted with two tapes (heard simultaneously). One is based upon vocal sounds processed using the Fairlight II Computer Music Instrument, the other upon a simple montage of texts and abstracted fragments. Recollections was commissioned by the vocal group Vocem for Alan Belk with funds made available by Greater London Arts. The tape was realised in the Electroacoustic Music Studio at City University, London between November 1985 and January 1986. It was first performed by Alan Belk and the composer at an Electro-Acoustic Music Association Concert at The Place, London on the 20th of January 1986.

Fall/Spring performances program book from the 1985-1986 school year at the North Texas State University School of Music.

WITH LOVE, 1986, a fantasy for live cello and decorated cello cases, in memory of Myrtle Hollins Adelberg, by Vivian Adelberg Rudow, won FIRST PRIZE in the 14th International Electroacoustic Music Competition, Bourges,1986, program division. It won with straight ten's. Rudow was the first woman to win a first prize in the Program division of the Bourges competition and the first American woman to win any first prize. This work was composed for live cello and stereo tape. For the first performance, January 1986, Paula Skolnick-Virizlay, cellist at the Baltimore Museum of Art, two separate tracks were transmitted to two separate speakers, one inside decorated cello case "Electronic Mom", the other inside decorated cello case"Electronic Woman". Amalie Rothschild, Baltimore artist, created the cello cases. The sounds coming from the different speakers represented the feelings of that specific woman. All the sounds from "Unmarried, spirited, flamboyant, "ELECTRONIC WOMAN" were electronically reproduced by the composer. The sounds from "ELECTRONIC MOM" were spoken thoughts from 23 people in interviews about their moms and moms sharing their thoughts about being mothers, original music composed for the work, plus fragments of earlier works by Ms. Rudow. The cellist sat between the two ladies and the …