Recording of Milan Adamciak's Tincanchant. For electronics, manipulated pre-recorded sound, and samples from varying sources. Created using traditional electro-acoustic technique.

A Guest Artist Recital performed in the UNT College of Music Concert Hall.

Recording of Marc Ainger's Dreaming hills. This work uses Javanese music to guide the temporal and spectral musical unfolding. Technique and instruments include a Super Phase Vocoder, and C-sound (granular synthesis and various combinations of additive and FM synthesis).

Recording of Nicolay Apollyon's Bass Organics. For electronics, processed violin, processed double bass, and live electronics.

Recording of Natasha Barrett's Puzzle wood. The name of the composition comes from "Puzzle Wood" being the name of a small forest nestled within a Medieval iron-ore mining region in the Southwest of England. Although the wood does not covering an expansive area, locals believe many lost souls wander its confused and ambiguous pathways. An alluring aspect of acousmatic music is its ability to indulge in a multi-faceted and paradoxical listing environment. Here, in the composition, the products of the listener's imagination interact and coexist with the sonic material. As perception gradually discovers deeper levels within the music, new allusions jostle to the front of one's attention. Some tiny fragment of sound may shatter the existing context to reveal an even stronger 'Trompe L'Oeil', or sweep it aside in favor of some personal or emotional reminiscence. The composer aims for a listener to lose oneself within "Puzzle Wood," and repeatedly escape deeper into one's own thoughts and imagination.

Recording of Alain Basso's La logique du vent. The piece is made essentially from FM synthesis sounds, driven in increasing series by a MIDI program. The resulting collections were then processed to be smoothed and produce a more ethereal feel in the composition.

Recording of Carlos Mauricio Bejarano Calvo's Trasteo. This little essay proposes the configuration of a move, of a becoming of materials, tools and images; with a metaphoric step. From a place of ruins and ransacked old things to places of accumulation, pieces and residual products. An ancient support in which is rewritten, scratched by tracing a new transition substrate that slips towards a final food enslaved. This work uses electronics, pre-recorded manipulated sound, and instruments.

Recording of Serge Belimov's Vers l'autre source du flux. This work is for voice, flute, and tape and was written at the Ateliers UPIC (now CCMIX - Center for Musical Creation Iannis Xenakis). In the vocal part of this work, the composer achieves a perpetual continuum between the "breath" sound, the sung sound and the spoken sound, such as one often encounters in extra-European music. In the flute part, the same continuum is created by the interaction of several playing modes. The UPIC tape samples were created from voice and flute.

Recording of Gary Berger's Transition. Transition is an attempt to create relationships between simple and complex sounds, and also to produce tensions between static and rhythmic events which transform into a continuum. Transition is meant to be the expression of inner intensity and change. This composition was a commission on the occasion of the 10th anniversary of the Swiss Center for Computer Music (Schweizerisches Zentrum für Computermusik). It was realized between October and December 1995 at the studios of the Swiss Center of Computer Music.

Recording of Roman Berger's Fragment of Epitaph for N.Copernicus. In addition to "traditional" electroacoustic apparatus, modules of the ARP synthesizer were used. A single relatively longer object is initially exposed as a "subject" and some sections of the composition are then intended as its variations. The form of the "epitaph" also ties in with tradition by respecting the principle of symmetry as well as that of evolution. In the background stands the idea of ​​continuous multidimensional compositional space, the main characteristic of which is structural ambiguity.

Recording of Gonzalo Javier Biffarella's Mestizaje. This work uses a pre-recorded vocal fragment of around 4 seconds and a 2 second pattern of a harp were used to create this piece.

Recording of Gunnar Lars Bodin's Mare Atlantica. For electronics. This work is divided into 4 pieces, and lacks a center of intensity. The absence of a sound center in this work corresponds to the Atlantic Ocean as a concept or a metaphor. The Atlantic as a concept is so complex that nothing more central could be described. The Atlantic can be considered in several ways, for example from a geological, meteorological, biological, hydrological point of view.

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

A Faculty Recital performed in the UNT College of Music Recital Hall.

Recording of Serge Bouc's Chevaliers de la table d'onde. The title is a play on words, with "Chevaliers de la table d'onde" meaning "Knights of the wave table" - as compared to "Chevaliers de la table ronde," or "Knights of the round table."

A Faculty Recital performed in the UNT College of Music Recital Hall.

Recording of Christopher Brady's Say it. For electronics and pre-recorded sound, written in traditional electro-acoustic technique.

Recording of Aldo Brizzi's L'épreuve du labyrinthe. The title of this work is taken from Mircea Eliade's autobiography. The tape consists solely of viola sound superimposed on to rhythmic fragments from Afro-Brazilian music and uses the viola's lower register. Each path is highlighted by enhancing the sounds through different digital filters, which makes it more difficulty to perceive the recurring rhythmic patterns, but the beat remains steady. The solo part consists in a micro-intervallic melody, rhythmically swinging with the tape.

Recording of Jonas Broberg's Her scent. This short piece was composed for the occasion of the 25th anniversary of the annual festival of Electroacoustic Music in Bourges, where it was also premiered. Some of the sound material was taken from "Locations". The intention was to clad the sounds in new "attire" and put them into different contexts. The piece is dedicated to Ylva Skog.

Recording of William Brunson's The Lute of Pythagoras. This is an intermedia work for electronics music and computer controlled slide projections. Pre-recorded sound, both unprocessed and processed is explored within this work.

Recording of Miroslav Bazlik's Multiplication. This work uses piano sounds, which becomes increasingly processed with electronic sound effects.

Recording of Rainer Bürck's STRINGendo. This composition is based on an idea of combating a perceived prevailing trend of melody instrument solos suffering from "one-dimensionality": a limited ability to superimpose simultaneous layers which could make up complex musical textures. Within this piece, the playing of the performer is transformed into MIDI data. The MIDI data is processed on four independent layers by a computer program written by the composer which then controls a sampler, playing all sorts of sounds and noises previously recorded from the particular instrument. Pitches and velocity values can be transformed, notes can be delayed, a played note can trigger many other notes, etc. Each of the processing parameters can either be exactly determined, or it can be defined as a random interval within which the processing will be carried out. The composer describes the live performance as keeping the piece fresh, while processing - if done on four separate layers - enables the performer to trigger complex musical textures.

Recording of Antonio Augusto Caminhoto Neto's Moment Angular. For computer synthetic sound. The sound material is mostly from unique synthesized noise. The electronic processing was created by selecting and cutting granular particles from referred initial sound and submitting them to various processing.

Recording of Mark Canfield-Taylor's The innocents.