Recording of Hans Ulrich Humpert's Der Frieden.

Recital presented at the UNT College of Music Concert Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recording of Sven-Erik Bäck's Hommage aux grands faux penseurs.

Recording of Dieter Kaufmann's Chanson.

Recording of Wilhelm Zobl's Andere die Welt, sie braucht es.

Recording of Lothar Voigtländer's 3 elektronische Studien. The basis for the composition are the poems of the poet Erich Arendt. The poems were written around 1925 in his Expressionist creative period. Accordingly, the compositional means: concrete musical material is mixed with electronic sounds to achieve a strongly expressive and suggestive associative effect. It is less thought of as a "setting" of the texts, but should be added to the often strongly symbolic language formulations as a different, musical dimension. The vocals and the piano usually work live. The piano is mostly treated as unrecognizable - this is to achieve a seamless insertion into the electro-acoustic sound material. In a performance, both piano and singer can be electro-acoustically amplified and to a lesser extent technically manipulated (reverberation, iteration, etc).

Recording of Max E. Keller's Sicher sein... This piece confronts newspaper articles on the subject of redundancies, read by the orator, with the advertising slogan "Sicher sein, Bankverein."

Recording of Max E. Keller's Grundgesetze III. "Grundgesetze III" is the third part of a six-part work begun in 1975. Sections I and IV were realized as orchestral pieces. Lyrically, the work is based on the confrontation of ideology (for example, the constitution, that is, the "Basic Law" of the FRG [Federal Republic of Germany]) and the reality of bourgeois society. In "Grundgesetze III" the federal government processes a text about the so-called social market economy, while two other speakers present some information and a realistic dialogue. If the social market economy promises people paradise on earth, then the setting adjoins the dull reality: the colorful life has given way to a mechanical, absolutely regular beat, which was realized electronically, which thus lacks any inner life. This hammering also reflects what characterizes pop music and gives it an intoxicating effect, but occurs here naked and without drapery, no longer narcotic, but irritating. Like the rhythmic parameter, the pitch parameter also adjusts, with 19 different pitches distributed over the listening area at absolute regular intervals forming the basic chordalization of the chords. In other words, it is a 19-note chord built on a regular basis from which one single note is …

Recording of Martin Schwarzenlander's Unter dem Pflasterstein liegt der Strand. The music is interspersed with text about demonstrations in East Germany during the 1970s.

Recording of Lothar Voigtländer's "Variation und collage" for voice and tape. The text is from a poem by F. G. Lorca. The human voice serves at primary sound material (murmurs, screams, editing, deformations). There are few synthetic sounds that were created through the use of the ARP synthesizer.

Recording of Luigi Ceccarelli's "Abominable A" for magnetic tape. The piece includes the voices of Kadigia Bove, Francesca Furlanetto, Eugenio Giordani, Luciano Martinis, Michela Mollia, Achille Perilli, Marina Poggi, Enrico Pulsoni, Giovanni Puma, Kerstin Riemer, Claudio Rufa, Stefano Scodanibbio, Gaetano Trusso, and Catherine Verwilgen. The piece contains a recitation of all the words in the Italian vocabulary that begin with the letter A, read in sequence from voices with different stamps, rhythms, and intonations. To these are added other sequences in French, German, and English. The work is divided into fifteen sections, each of which has a different criterion for processing the timbre, rhythm, and space. It was realized at the Electronic Laboratory for Experimental Music at the Conservatory "G. Rossini" in Pesaro from 1978 to 1980.

Recording of Jürgen Bräuninger's Panta Rhei. This piece is connected for one female dancer who is connected to a synthesizer via a cable ("Umbilical cord"). "Panta Rhei" ("everything flows") refers to the Greek myth of the Three Fates (Clotho, Lachesis and Atropos). The cable represents the string of life which the performer can not escape. This dependency forces her to react to the sound events with reach her through the cable.

Recording of Max E. Keller's Hymnen ("Hymns"). This is the Radio Version of the piece which was broadcasted in 1979. This piece confronts the authentic account of a Chilean's experience of torture by the Chilean fascists by means of a collage of national anthems. Hymns and anthems from countries that directly supported the fascist coup (or indirectly benefited from it) are used as base material. At first, only fragments of hymns are presented, then they are processed as a whole, and finally they are put together into a new anthem. This demonstrates their interchangeability in their music and lyrics (therefore, they are used without text). The idealistic glorifications tilt in the face of reality in stark mockery. This is further articulated by the fact that between the individual texts of the collage, the Chilean hymn sings and unprocessed re-sounds. The chivalric song of the French Revolution is the cipher and historical source of all the promises of freedom, equality and fraternity that the hymns give, but history has not fulfilled to this day.

Recording of Eugeniusz Rudnik's Moulin Diabolique" ("Devilish Mill"). The work consists of six sequence that have their own dramatic, musical, and architectural meaning independent of the piece as a whole. The piece is based on military orders in different languages, as well as the sounds emitted by human groups (soldiers), which constitute the answer itself or accompany the answer that is required. The composer processes the sounds of the orders to deepen the grotesque and lugubrious character that these orders contain.

Recording of Klaus Röder's Mr Frankenstein's Babies for tape. The sound material consists only of voice sounds recorded by Röder himself. The sounds were worked out in an envelope shape and then copies upon the other so that there was a "chorus" sound.

Recording of Jürgen Bräuninger's Tans-Trypticon.

Recording of Elżbieta Sikora's The waste land, for fixed media. The piece is a journey through time and spaces. The present is mixed with the past, the ordinary with the extraordinary, dream with reality. The work was commissioned by the Experimental Studio of Polish Radio and was realized in October 1979. The text comes from T. Elliot's poem "The Waste Land."

Recording of Martin Rudolf Schwarzenlander-Fischer's "Chacoel (Musik für den frühen Abend)" for tape.

Recording of Mayako Kubo's Play bach for eight channel tape. Play Bach is mainly based on two elements: first, there is no fixed form and no fixed duration because the composition consists in a mobile-system; second, the sound material uses only the tones B (Si-flat), A (La), C (Do), and H (Si) in different octaves performed by three instruments and with the letters B, A, C, and H spoken with human voice. Because the eight tracks are combined using a mobile system, each performance presents different combinations and thus a different performance each time.

Recording of Martin Rudolf SchwarzenLander-Fischer's "Das unrecht in meinem bad" ("Injustice in my Tub") for tape.

Recording of Will Eisma's "Le grand silence d'un seul oiseau" ("The great silence of a single bird") for tape. During World War II, a network of 40,000 km of trenches crossed South Flanders and the North of France. Still today, there remains part of these trenches as a long underground tunnel somewhere around Metz and Verdun. The composition represents an imaginary underground journey from Calais to the Swiss border, through the infernal moles, in the gloomy and frightening obscurity of this absurd war. The poem of Ab Van Eyk tells of these horrors: "Someone walks forward, slowly spitting out his lungs, while a bird pass near me, the gas ......... The night shows fiery angels, among the lights of the "no man's land "; until the twilight silence arrives, the great silence of a only bird, just before sunrise raspberry color." The piece was composed and realized in the studio Five Roses in April 1981.

Recording of Jacqueline Ozanne's "Son recif" for voice and tape. This piece comes from a work on the myth of the sirens and includes texts written on this theme in their original languages. As the singer/speaker repeats the story, it is crossed by the sounds of these languages, by songs that cannot continue, as well as successive states of emotion. The electroacoustic tape plays a constant dramatic role: sometimes worrisome, sometimes reassuring, sometimes enveloping presences, it continually influences the interpreter in their vocal and dramatic production. The performance includes a video projection.

Recording of Bogusław Schäffer's Maa'ts for tape (4-lane). The composition if a collage for voices and electronics. The choir sings in harmonically exact microcompositions.The piece was produced in February 1981 in the studio of the Technical University Berlin.

Recording of Gottfried Martin's Pax for tape. Includes electronic and natural sounds, including voice, news recordings, and recordings of war sounds.