Painting of multi-colored mixed media which includes collage children's drawings of people, trees and landscape throughout.

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This painting has three large abstract shapes in black on a white background which has a row of thin vertical stripes, also in black.

A series of paintings of large red and peach ovals with multi-color diagonal brush strokes and large white grid on top.

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The aim of this research was to trace the stages in Gregory's career, and the writings he produced during each of them, in order to examine his interest in biblical interpretation, and to link the form and content of his exegesis with the audiences which he was attempting to reach. Gregory's Old Testament homilies, the "Homilies on the Gospels," the "Pastoral Rule" and the "Dialogues" differ considerably one from another in literary form, in content, and in purpose. There were marked changes in Gregory's life from his first commitment to asceticism in the mid 570's, to his death as bishop of Rome in 604. Attention would be given concentrated on his explicitly exegetical writings: the Pastoral Rule and the Dialogues will be considered with the limited aim of assessing their relationship to his exegesis, in the Introduction, the main developments in Western biblical studies in the two centuries before Gregory will be sketched in broad outline, in order to establish a terminology for exegetical literary forms, and to draw attention to the forms which Gregory chose to adopt.

Splatters and stains on fabric was then gathered and hung from suspended cable and also attached to the wall at two additional places.

Recording of Francesco Galante's "Studio per die sorgenti" ("Study for Two Sources"). The musical form is a comtinuum and the music is a passage from a low to high complexity of sound materials, of the shape of textures and the succession of the events in the acceleration of time. It was realized in the electronic music studios at the Experimental Music Center in Rome in 1978.

Recording of Pekka Sirén's "Kasaanin Synty (Genesis of Kazan)" performed by Leena Schönberg, speaker. The poem "The Founding of Kazan" is a Mordovinian poem from the collection "Heimokannel," original translation of text from Mordavinian to Finnish by Otto Maninen. Realized in Finnish Radio's Experimental Studio and at Stockholm's EMS Studio from 1978-1980

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 Roger Doyle's Rapid eye movement. The title refers to the type of sleep called "Rapid Eye Movement" or REM, which is dream sleep. During REM sleep, the muscles of the eyes move as though the dreamer were watching something. Structurally, the work is conceived in the same way as Déjà vu occurs in life. There are 30 or 40 instances of mysterious familiarities of the same sounds placed in totally different contexts. Like the human cell, any extract from the composition will reveal the main elements comprising it - the part reflects the whole.

Recording of Felix Powell's Suite from inscape

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 James Dashow's Partial Distances. It is the last purely analog electronic work Dashow composed. There are a few sounds in this piece generated by computer but significantly transformed and altered by analog techniques of one kind or another, such as dynamic filtering, delay line processing, extreme velocity manipulations, etc. The piece was made by the old tape cut and splice method, mixing and re-mixing pairs of ReVoxes onto a third one, and avoiding tape hiss with the newly invented dbx noise reduction box. The piece is in 4 sections, the first two blending smoothly into each other, and these are separated from the fourth by the giant multi-voiced "ostinato" movement that builds to the work's climax. The sounds are constructed from series of partials whose distances between each other vary from harmonic to inharmonic and are subsequently combined in a variety of ways. The title refers to distances between musical ideas and/or variants of the same idea, distances which are never extended, long, full or complete, despite what we say or do, but, like distances between people, only partial.

Recording of Herbert Brun's Dustiny, an electronic composition.

Recording of John Winiarz's Night flower performed by Le Duo Classique de Montréal: Davis Joachum and Eric Wilner. The title refers to a desert plant called a "night-blooming cactus," which blooms in the dark and dies at the first light of dawn. This is not a piece of program music; rather, it is an evocation of the atmosphere suggested by the images of the desert, night and beauty. The sound material used comes from electronic sources, natural and instrumental, processed mainly by lilting and modulation rings. The tape was produced at the Electronic Music Studio of McGill University in Montreal.

Recording of Maggi Payne's Lunar Earthrise. Performance is with four speakers accompanied by abstract slides. Composed at the Center for Contemporary Music at Mills College.

Recording of Peter Tod Lewis's "Harmonie II : Beklemmt" ("Harmony II: Oppressed") for tape.

Recording of Jan Segers's Study for horn and tape performed by André van Driessche. The work was conceived as a study for the horn, accompanied by magnetic tape. Performance requires certain technical skills from the performer. The general form is A-B-A. The first A section consists of a note with semitone variation, which is then developed by the horn from pp to ff. The B section consists of rhythmic, contrapuntal variations alternating with "cantabile" passages, which could be considered a development of the previous A section. The second A section is a complete reversal of A1.

Recording of Antero Honkanen's "Monastery in snowfall."

Recording of Paul Lansky's "Six fantasies on a poem by Thomas Campion" performed by Hannah Mackey. It is a suite of computer synthesized studies of the reading of the poem "Sweet-cheeked Laura" by Thomas Campion. In this work, Lansky takes a single text, which was then read by his wife and frequent collaborator Hannah Mackay, and subjected it to a variety of aural manipulations. Each of the studies attempts to explicate different implicit musical aspects of the sound of speech. The effect of the different approaches should be to change the listener's perception and application of the musical senses of speech, particularly poetry reading.

Recording of Charles Dodge's Cascando -- An Electronic Musicalization of the Radio Play by Samuel Beckett. The original play by Beckett concerns the attempts of the "Voice" to tell a story about a man named Woburn that will satisfy the "Opener," which would allow the "Voice" to remain silent from then on forever. When the "Voice" falters or the "Opener" grows tied of hearing him, music is heard. In Dodge's version the "Opener" is played by Sam Tsoutsouvas and the "Voice" is a computer-synthesized voice based on a reading by Steven Gilborn. The music was realized using the synthetic voice as a model for its pitch and noise events.

Recording of Rodolfo Caesar's Candomblet. This piece was created through manipulation of the Candomblet record synthesizer. The choice of sound material follows purely musical criteria; there is no nationalist intention. Piece uses music originally made for dance.