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 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 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).

Interview with 1st Lieutenant Robert Roser, an Army veteran, concerning his experiences with the 29th Division during the invasion of Normandy in World War II.

Interview with Thomas P. Emery, a US Army WWII veteran from Solana Beach, California, who served as a pathfinder in the 6th Army Special Special Recon Unit. Emery discusses joining the Army and airborne training, assignment to G-2, scout and pathfinder training, attending OCS, deployment to New Guinea, formation of the Alamo Scouts, learning to live and fight in the jungle, his first mission, raids and harassing Japanese troops, traveling aboard the USS Missouri, and fighting in the Philippines.

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

Interview with Eugene Brown concerning his experiences before, during, and after his employment in the Civilian Conservation Corps during the Great Depression. Brown worked at camps in Cleburne, Texas (Company 3804) and San Antonio, Texas (Company 3822).

Interview with Odis Taylor concerning his experiences before, during, and after his employment in the Civilian Conservation Corps during the Great Depression. Taylor worked at camps in Pierce, Idaho (Company 5702) and Emida, Idaho (Company 229).

Recording of Christian Banasik's Dressing old words new. For baritone saxophone and tape (version II for bass-clarinet and tape). The structure of the piece is based upon formal characteristics and idiomatic expressions of the 76. Sonnet by William Shakespeare which was analyzed by pitch to midi converter and computer programs. The sound of the recitation was transformed and produced metric-rhythmical patterns and pitches thus generating the material for the composition. The basic patterns are integrated in original form, varied, or completely abstracted and again reduced.

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 François Bayle's Pierre. This is a work for electronics that was written as an homage to Pierre Schaeffer.

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 Marie-Hélène Bernard's Un singe blanc si rusé. The common thread of this sound fresco is drawn from the adventures of Hanuman, the hero white monkey of the Ramayana. The text extracts which appear fleetingly are taken from the French translation of the Reamker carried out by Franois Bizot. Most of the sounds of the band were collected during a stay in Cambodia.

Recording of Charles Bestor's Into the Labyrinth. The "Into the Labyrinth" suite was winner of the Grand Prize in the Musica Nova International Competition of the Czech Republic. The work was realized in the Electronic and Computer Music Studios of the University of Massachusetts, USA.

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 Francesco Boschetto's Your heart is a red train. The concrete material is prevalent as the main sound source and it is derived from life in the city of Stockholm. It is based on three poems, mainly on "Ditt Hjarta Ar Ett Rott Tag", by the Swedish writer Rold Aggestam and on two sonnets by Lorenzo "il Magnifico". The composer's personal experience seeps troughout the course of the piece: the sound of trains, people in subway stations and streets, solitude in the crowd; it is an itinerary in the everyday routes in a foreign town and the elapsing of wintertime scanned by a faint light.