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

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

Ensemble concert performed at the UNT College of Music Concert Hall.

Faculty recital performed at the UNT College of Music Concert Hall.

Faculty recital performed at the UNT College of Music Recital Hall.

A student recital presented at the UNT College of Music Recital Hall.

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

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

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

Recording of Ulrich Süsse's Les Vusions. Rabelais' ideologies and visions are musically represented in this piece. This is done by building structures and walking away from them. The structures are taken from the sound (preferably from a precise vocal) and the continuation of the language of Rabelais. There is the use of everyday normal objects, but the technique of electronic transformation demonstrate direction and transition.

Recording of Klaus Martin Kopitz's Das geheimnis des verlassenen raumes. This piece has voice throughout the whole piece while samples and electronically-built sounds give dialogue.

Recording of Hans Ulrich Humpert's Die ehe der andromache. This work is made up of five sections which are made up of electronic processed voice and electronics.

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

Guest artist recital performed at the UNT College of Music Concert Hall.

Recording of Günter Heinz's Berlin views. This work presents the "sound of the city at the end of the century" and arose in connection with the video project Ç Vortex È of Akademie der Künste Berlin.

Recording of Ming Wang's Monsterfest. This work consists of sounds from two different cultures during similar situations. It is meant to explore the idea of people who are transplanted into a different culture and the struggles that come with that. The composer states that the piece has 3 formal parts: 1.) Introduction and variation, 2.) Three-part "song" (A.B.A'), 3.) Covert recapitulation mirrored.

Recording of Dieter Kaufmann's Dialogue avec Wittgenstein. This work is built on fragments of philosophical text spoken in both French and German, as well as various musical segments by composers Beethoven, Brahms, Bruckner, and the composer himself. The work was produces at the ELAK Institute of the University of Vienna Music and had two premieres. The German version in Vienna (1999) and the French version in Bourges (1999).

Recording of Rodrigo Cicchelli-Velloso's Esboco de thetis.

Recording of Jon Christopher Nelson's Flights of Fancy. This work, for fireworks and tape, was written as the grand finale to the Grand Opening Concert of the Murchison Performing Arts Complex at the University of North Texas and premiered at the event. The piece incorporates a variety of musical excerpts that were performed throughout the concert as well as sample sounds of fireworks. It was premiered simultaneously with a fireworks display.

Recording of Christian Banasik's Wenn die klagestimmen der stadt II.

Recording of Riccardo Dapelo's Zu klugen Gestirnen. For soprano and tape. The work is derived from a picture poetry of Paul Klee. The composer tries to separate elements common to Klee's theory. The starting point is a small sound gesture: an upward exponential function. This function shapes all the steps of the work in a motion from noise to sound. The attempt is to build a self-similar structure with matching between small details and larger forms.

Recording of Lou Mallozzi's Aquapolis. The sound material is language and ambient recordings. The text is written in English, and has been translated into German and Venetian Italian. There are aquatic sounds, body sounds, and sounds of physical labor. Conceptually, the piece is based on a fictional trans-historical walk through an aquatic city, loosely based on Venice. The piece is in four sections: Preamble, 2000 Years Ago, 200 Years Ago, and This Year.

Recording of Pierre Jodlowski's De front (Quatuor). The idea of ​​this piece is based on a set of writings around the processes of aggression in humans and animals, as well as on the notion of frontality (which relates to the intermediate, fuzzy zones of our experience - physical or intellectual). The principle of the work (hence the precision quartet) is based on the development, "in concentric circles," of four groups or entities: 1. clarinet / trumpet; 2. percussion; 3. string quintet; 4. parts electronics. These gradually close in on the listener. This convergence takes place through processes of accumulations and encounters in which perception passes from individualized states to a group feeling.

Recording of Hans Ulrich Humpert's Candide: Unterwegs - en cheminn en el camino - Away. This piece includes periods of overlapping voices, with voices speaking in French, German, English, and Spanish; sometimes these overlaps consist of two voices in different languages, sometimes more.