Recording of Martin Rudolf Schwarzenlander-Fischer's "Chacoel (Musik für den frühen Abend)" 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 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 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 Gottfried Martin's Pax for tape. Includes electronic and natural sounds, including voice, news recordings, and recordings of war sounds.

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.

Recordings of Gerhard Stäbler's Twilights "protokolle für tonband gleichzeitiz gespielt mit window" (Ewilights "Protocols for tape played simultaneously with window"). Poems were written by Ernestro Cardenal and other texts were taken out of "NEWSWEEK" issues between Auguest 1 and 8, 1983. Produced at the Computer Center of Stanford University/California.

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

Photograph of a street in Innsbruck, Austria. The street is filled with people and outdoor cafes. A ship sign overhangs a doorway in the right foreground. Buildings of multiple colors line the streets. Red and white flags are mounted on the buildings.

Photograph of a yellow clock tower in Austria. A white building is visible in the left foreground. A yellow clock tower sticks out of a building on the right.

Photograph of St. Peter's Church in Vienna, Austria. The church is visible in the foreground. The church has a dome roof and two bell towers.

Photograph of a streetscape in Vienna, Austria. In the foreground, numerous shop signs and blue cafe umbrellas are visible; orange umbrellas are visible in the middle ground; more buildings and a sculpture in scaffolding are visible in the background.

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

Recording of Klaus Martin Kopitz's Teilstrategien. The piece's subtitle is "10 variations about the sound of a language". There are recorded improvisations of bass clarinet and piano, which were stacked up to 12 tracks with electronic effects. The 7th Variation is only made up of speech and incorporates nature recording.

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.

Photograph of the Hotel goldener Hirsch, a white four-story building with rows of windows with green shutters and window boxes filled with brightly-colored flowers, and two red and white and blue and white banners hanging in front of it. There are several people walking on the sidewalk in front of the hotel and a smaller brown building, also with flower boxes, is partially visible on the right.

Photograph of a street corner with a two-story building with a mural on the right and another three-story building on the left with several business names on it. In the foreground there are three cars driving on the road and a small group of people in front of the painted building. In the background a spire and the side of a large mountain (possibly the German alps) are visible.

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

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

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

Women's Chorus performance at UNT College of Music Concert Hall.

Recording of Ipke Starke's Flurstück. The composer denotes "Flurstück" as meaning a piece of countryside, a rural landscape (Flur), which is private property; this is important to a central theme of ownership and its interactions with natural environments vs more "technical" atmospheres. It is described as such: The background of the piece is the dismemberment of the landscape, the subdivided land. From this are born the images. Fields, travel, property, appropriation and expropriation, the battle, fields of march in songs of the consequences. The beautiful atmosphere is disturbed. The notion of ownership must appear in the title: we listen differently when we think of ownership. The composer's interest is in particular in the different silences that were recorded in the countryside in specific favorite places. Added to this are "technical" atmospheres, incidences and "hinges" which oppose natural environments, and which are a reflection and documentation of their confrontation, of the division of the earth. The very precise measurement of the landscape is transmitted to the structuring of the piece by precisely measured durations, unequal, rhythmic, but not insertable into a frame. After the journey through these images of boundaries and fences, and faced with this frustrating experience, the composer notes …

Faculty voice recital performed at UNT's College of Music Recital Hall.

A faculty and doctoral recital performed at the UNT School of Music Recital Hall.