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.

Recording of José Halac's India vieja que pretebde volverse joven Tomando sangre de condor. The India vieja (old Indian woman) sings the Baguala, (traditional folk song from the West North of Argentina) expressing her wish to become young by means of drinking the blood of the Condor (immense and majestic bird from that area), in order to be able to enjoy sex and life once again. This beautiful and magical idea inspired me to create this piece. Originally she says the text first beating her "Caja" (Indian snare drum) and then she sings the same text also using her caja. Before I decided that my input would be "in between" the spoken and the sung sections, imposing the idea of getting old all along the piece, using the speed of the words and the stretching of the voices to reflect the idea. The result is at the same time mystical and depicting age, so that there is still a chance of going back in time, of becoming young again even with the strong and irrevocable reality imposed by myself. Both the beginning spoken section of the Indian and the last sung section, have been stretch to give a sensation of …

Recording of José Sosaya Wekselman's Alturas, Fuego, Granizo… This work has many sine tones creating harmonies, voice giving dialogue, along with electronically created sounds which add texture and gesture.

Recording of Rubén Hinojosa Chapel and Bérengère de Tarlé's Camello. This work tells an imaginary story by taking elements from real life including the sounds of public transportation in Havana. It is a soundscape of a part of the daily life in Havana. The composer points to the importance of the words in the piece from people speaking and public announcements as it holds symbolism for the Cuban people. This work premiered at the "XIII Festival de La Habana de Música Contemporánea".

Recording of Robert Grassi's L'ouest du palmarès. The composer describes this work as a live improvisation from a sample percussionists and speaker. The instrumentation was created by Yamaha drums and a Yamaha sampler.

Recording of José Halac's The Breaking Of The Scream. This work was inspired by a folk song from North West Argentina called "Baguala del Tigre" and a poem written by Argentine poet Pablo Anadon called "Seasons of the Tree". The main ideas from both of these works converge into this composition.

Recording of Jep Nuix's Intervals. This work is separated into 7 movements: 1. L'Inizio, 2. Monòleg, 3. Resonanzen Für Elisabeth, 4. His Master's Voice, 5. Improvisaciò Per A Tubs, 6. Riflessi, 7. Tonightingale. The work has been recorded on solo CD's.

Recording of Félipe Santiago Neiro Vega's Nubia. The composer separates this work into three movements that revolve around the psychology of interpersonal relationships. The beginning revolves around the home and uses samples from an active household. The first movement involves the family and the start of a new life while the second showcases marriage. The final movement is friendship and embodies the idea of self-acceptance.

Recording of Jorge Rodrigo Sigal's Babel. This work is part of a larger CD project called "Manifesto". The piece is meant for flute, tape, and optional live electronics. The sound materials were recorded in Spain, France, and Mexico City. The composer dedicates this work to Stefano Scarani and it was premiered by Mr. Harrie Starreveld.

Recording of Bérangère Maximin's Le rituel des poupées cassées.

Recording of Juan Manuel Marrero's Come la voce della coscienza.

Recording of José R. Sosaya Wekselman's Evocations I. This work is made up of various acoustical sounds all attributed to the environment of the composer when creating this piece. This includes family voices, airports, domestic sounds, etc. The composer has meant for these sounds to create their own evolutionary musical structure rather than be heavily manipulated. He thanks the Spanish Ministry of Culture for their grant which helped this piece come to fruition.

Recording of Coriun Aharonian's Secas las pilas de todos los timbre. This piece comes from sound documents of different places and times connected one way or another to the composer. With one exception, all pitches have been left un-modified and while there are no electronic sounds, the piece has been composed with a computer using various software programs. The title partially quotes two lines from the lyrics of a well known tango composed by Enrique Santos DiscŽpolo in 1930, and are untranslatable. It makes reference to the idea of a society in which solidarity is scarce or difficult to find. The composer thanks the generous support of the Studio directors Georg Katzer, Georg Morawietz, and Gerd Rische, and the hospitality of the Akademie der KŸnste, Berlin.

Recording of Victor Hernandez's Naturaleza impura para masas escepticas. This work captures a complex discourse based on the principles of concrete music. The composer used hundreds of microphones and multi-track recording techniques, as well as several hybrid processes to enrich the dialogue throughout the piece.

New music concert performed at the UNT College of Music Recital Hall.

NOVA concert performed at the UNT University Union Lyceum.

Chamber Orchestra concert performed at the UNT College of Music Concert Hall.

Recording of Eduardo Reck Miranda's Requiem per una veu perduda. For mezzo-soprano, recorded electroacoustic and live effects, made up of four movements: Kyrie, Gloria, Sanctus and Benedictus, and Agnus Dei. This composition is an experiment on enlarging the lexicon for a piece heavily rooted in musical tradition. Virtual digital instruments, synthesized singing and manipulation of the inner structure of voice and natural sounds are the means for extending the expressive power of an ecclesiastical musical form.

Recording of Fernando D. Polonuer's Breve reseña sobre los sueños, el vacío y la enfermedad. This composition is described as a program category work. It represents three steps in a painful and unconscious way to self-destruction. The dreams: the perception of loneliness and memories. The emptiness: the wake up, the light, the reflection, the comprehension. The illness: self-destruction, the fight for survival, pain and defeat. This work includes voices which have been recorded in different years. There is a voice singing fragments of a Tango called "Sus ojos se cerraron" and spoken words with thoughts about linguistic texts. Included texts and quoted material are listed by the composer, in English, as follows: "Today, my heart is lonely..." / "This silence is so cruel, is hurting me so..." / (Spoken) " Promises: can't they be true or false? When you say 'I promise!' that is already a promise - even though it might be a lie. Eh, I don't like that one bit!" / (Spoken) "Unreal conditions, I swear..." / "Intertwined tears refuse to come out..." / (Spoken) "The amount of indirect sense that is usually implied is an immediate problem..." / (Spoken) "She says there is a distance between superficial …

Recording of alcides lanza's Voo. The lyrics of this composition are primarily in Portuguese, but the composer specifically chose to play with the source material, basing lyrics on poems which appear in NO OUVIDO DO TEMPO/NO OLVIDO DO TEMPO, a remarkable book of poetry by the Brazilian poet and composer Gil Nuno Vaz. Special acknowledgement is given to the Brazilian poet Raul de Leoni (1895-1926), since Gil Nuno Vaz integrated into his own poems some lines from an unpublished book by de Leoni, No Ouvido do Tempo. As a result, the Portuguese blends into Spanish and Italian intentionally, acting as a catalyst joining the notions of Columbus, Italian explorer, departing from Spain to explore the unknown sea; Columbus, whose writings in Spanish showed strong traces of Portuguese and Italian; and the fact that Portuguese and Spanish are the prevalent languages from Mexico to Tierra del Fuego. In addition, by looking at the text in a kaleidoscopic way, "other" words and sentences, in existing or imaginary languages could be encountered. With all these elements, the composer "tells" the story of the opening up of a new world - struggles and religion as icons on the way to modern civilization. Voo is …

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.

Recording of James Dashow's Media Survival Kit. This work is a lyric satire in three parts for radio. This instruments heard include: harp, contrabass, percussion, cello, and soprano voice. The processed pre-recorded sound were put through synthesis which was done using a MUSIC30 system. The three differing movement are titled: Nico, Crema (Cream), and Tutti Collegati (We're All Connected).

Recording of Claude Schryer's Marche sonore II (El medio ambiante acustico de Mexico). The composer speaks about the piece as follows: When we walk, with the passage of time we enter an inner rhythm and we pass into another much more receptive and thoughtful state: In Marche sonore I (Le matin du monde), I question the nature of listening and the multiple definitions of sound ecology through recordings of testimonials from friends, colleges and parents on the soundscape. Five years later, having found several answers to these questions, I composed this second radio sound march, El medio ambiente acœstico de México (The soundscape of Mexico), which now directly uses the musicality and poetry of landscapes sounds that I recorded in the fall of 1995 in Mexico City and in the state of Oaxaca. I worked like a photographer who carefully chooses and studies his subject, tries to capture magical moments, develops his images in the studio and composes them into a collection of memories and sensations. El medio ambiente acœstico de México was composed from Marche sonore II, a 50-minute radio work produced for Radio-Canada. El medio ambiente acœstico de México was produced in my studio in March 1996 (radio …