Recording of István Márta's The Museum's Voices, for tape.

Recording of Zoltán Pongrácz's "Laus stultitiae" ("Praise of folly") for baritone and tape.

Graduate choral conducting recital, featuring UNT Canticum Novum and A Cappella Chamber choirs, performed at the UNT College of Music Concert Hall.

Choir concert presented at the UNT College of Music Winspear Performance Hall.

Women's and Men's Chorus concert performed at the UNT College of Music Winspear Hall.

Recording of Nicolae Brînduș's Kitsch_N for clarinet, saxophones, Hungarian folk instruments, and tape. It is an instrumental theatre subscribed to the preoccupation of the author with controlling randomness in a musical action where the sound, attitude and stage gestures are structurally corroborated widening the domain of the performance. It is the second piece of a cycle named Vagues where the author develops similar stochastic principles of composition.

Recording of Claude Hermitte's Ciels. The text comes from the revolutionary poem "Egy gondolat bánt engemet..." ("One Thought Torments Me") by Hungarian poet Sándor Petőfi (1823-1849), and can be roughly translated into English as: "When every enslaved people / Will rise up breaking his chains / Red faces will carry red flags / And on the flags we will write: / Freedom for the whole world!"

Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Graduate Artist Certificate (GAC) degree.

Recording of Iván Székely's For Alrun I et II. The work entitled "For Alrun" was composed in 1975 in Bayreuth during a live electronics course. The singing part of the play of about 7 minutes, a form and a light local broadcast, contains the popular song tchango beginning with the words "Gyere ki te gyšngyvirag" / come, leave my beautiful, my lily of the valley / - this one will have to be changed to all the presentations in Hungarian. This task was undertaken at the world premiere by Alrun Zahoransky - hence the title of the work. The player applying the electronics, especially from the point of view of the instrumentation, produces sounds and manipulates the electronic sounds and the human voice. The piece does not require studio work, each tone or voice sounds in vivo (i.e. each presentation, each show is new). The focus is on the psychic process of the piece and not on the technical process; its different degrees of difficulty adapt to the possibilities of the presentation. The singer is Ágnes Zsigmondi. The translation of the song is: Come, leave my beautiful, my lily of the valley, Because the moon is mounted, alas. I will …

Recording of László Király's Adieu à Terez. “The sound material of the composition is a female voice modulated by various electronic means. The composition consists of 3 parts: 1) The enchantment of Terez, 2) The dream at dawn 3) Farewell The first part is based solely on the modulation of the voice. The beginning of the second part consists of an indiscernible speech and vocal music, which becomes more and more discernible. The third part remains on the contrast of voice and vocal music. For me, the essential was the contrast and the correspondence and the emotional effect the different timbres of sound.” - László Király, composer

Recording of Yvan Szekely's Folkronic.This work is made of human voices and eclectronic sounds. This work has the aim to summarize all the acoustic genres of Hungarian folklore; to melt old, collective forms into a new, individual one. These folklore forms are represented by the essence of their usage, motives, musical structure, performing styles and manners, and by characteristic snaps. It ranges from the quotation of phonograph recordings through live performances up to transforming them into principles of electronic composition. (Based on private folk-collecting and analyzing work). Other important principles: all the frequency proportions are determinate by the time proportions of the selections of the work; the whole electronic material is derived from one-germ; the Quadra system of spatial actions is a special sphere of the work.

Recording of Itsvan Szigeti's Souvenir de K. The form of the piece as the composer describes it is: Inner form - determined by the content of the poem. It is built up by dream-like, blending episodes as a quasi-birth; Outer form - freely handled rondo and bridge; Rondo- The returns certain soundings/mostly singing separated vowels/ in a modulated - almost periodical - way; Bridge - The correspondence of the time-spheres of certain episodes; Ordering principle - mathematics, statistics as well as two numbers seven and nine. Seven is a "magic" number and prime number. Nine is the number of the months from conception to birth. The work consists of seven main episodes, within these there are two episodes reduced to their components: the first and the last one - which results nine parts. The arithmetical mean of seven and nine is eight. The poem has eight lines, each line having syllabes; Rhythm - is based on the poetic rules of the poem; Space - I wanted to make use of the possibilities of quadrophony in the most felicitous way in the work. Last but not least - aleatory has got a role in the work.

Recording of Elizabeth Anderson's Mimoyecques. The piece consists of two sets of recordings and electronics. One set of recordings would be made in and around the fortress and would serve as the base where the imprisonment, death, and transfiguration themes would be built. The second recording is in the languages of the 18 nationalities of the laborers. The central section of the work illustrates the idea of terror freedom is suddenly, inexplicably removed. The final section explores the concept of the departure of the souls of the victims.

Recording of Nicolae Brînduș's Match - Monody I & Polyphony IV. It is a version dedicated to the Ensemble "Ars Nova" from Cluj Ð Romanian and based on collages of traditional folk dances from Romania's northern area of Maramures and ancestral laments from the regions of Banat and Oltenia. The final tape was re-positioned in the frame of the performers' controlled improvisation live which follows the same principles of composition. It became a sort of an ancestral memento to the momentary performing act. The music on the tape evolves from the natural sound of the folkloric sources, quoted as such, to its multiple subsequent electronic transformations, coming back to the same folkloric quotes in their natural sound at the end. All the process of transformations represent the pulsing and not pulsing metric type of musical activity (tempo strie and tempo lisse so as described by Pierre Boulez).

Recording of Ákos Rozman's Klagovisor. This work is written in memory of the composer's mother. The use of an old dried-out zither is used within the piece. There are also sounds of strings and crying, wailing vocal fragments from Hungarian folk music groups. The piece consists of thirteen short movements that blend into each other. Text by Isabel Thomson, was heavily inspired by Ákos Rózmann.

Recording of Ivan Patachich's Ballade. This work strives to adapt popular music electronically; its basis is a popular tchango ballad. The sound material of the piece includes the spoken text in prose and sung of the ballad, as well as the concrete sounds characterizing the ballad (sounds of carts, cries of pain, floods of water, etc.). All the parameters of form, rhythm, dynamics, as well as synthetic sounds are given by the indicated numeral series and by the derivatives. It consists of eight formal parts (movements). The structure is two voices, stereophonic.

Recording of Janos Decsenyl's 2 poems.

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