Recording of Takehisa Kosugi's Catchwave 71.

Recording of Boyko Stoyanov's C.A.S. Stoyanov was inspired by the interpretation of Chopin's Op. 30, no. 1 by the Japanese pianist Rikako Akatsu, performed at the Chopin Piano Competition in Warsaw. In this work, the composer wanted to create a unique form, the basis of which provided by the electroacoustic music.

Recording of Mayako Kubo's Iterum Meditemur for trombone and tape. The tape was produced in the electronic music studio of the Hochschule für Musik in Wien. Included in the sounds of the tape are wind chimes, bells, and human voice which reads reports from a newspaper printed in 1941 in Columbus, Ohio USA. The text for the trombone player is from the Japanese author Kazumi Takahaschi, partially altered by the composer It was composed from September to November 1978 in Vienna.

Recording of Alden Jenks's Nagasaki made in the electronic music studio of the San Francisco Conservatory of Music. Both electronic and non-electronic sounds were used (of the latter the human voice and music of the Japanese court, "gagaku", figure prominently). The human voice appears to be electronically generated, or electronic sounds appear to be gagaku instruments, singing voices, or a percussion ensemble. The words used are those of Fujio Tsujimoto at the age of five, of Nagasaki; on the tape they are spoken by the Japanese violinist Mayumi Ohira.

Recording of Anna-Elizabeth Hinkle-Turner's American Made. It is an electroacoustic piece using various English and Japanese sound fragments to recreate the sound of a motorcycle's exhaust.

Concert presented at the UNT College of Music Concert Hall.

Concert presented at Winspear Hall at the Murchison Performing Arts Center.

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

Recording of Manuel Rocha Iturbide's Parlantes. This work was inspired by the abundance of screens and loud speakers that fill big cities in Japan. The composer explores the role speakers now play in the daily cultures of Japanese cities. The protagonists of this composition are the speakers and the recorders that reproduce these sounds. This reflects the gradual disintegration of the human voice through modern technology.

Faculty recital performed at the UNT College of Music Kenton Hall.

Recording of Sylvi MacCormac's Waves of Kokoro. This work is an electroacoustic soundscape for Kokoro Dance and includes the voice work of Barbara Bourget and Jay Hirabayashi. This piece received Honorable Mention at IMEB, Synthse '99.

Recording of Cécile Le Prado's V.O. mito esquisse radiophonique.

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

Ensemble performance at the UNT College of Music Recital Hall

Recording of Johannes S. Sistermanns' I hear you think. This work consists of various concrete sounds as well as spoken text written by Hazrat Inayat Khan.

Recording of Guillermo Senn's Sensaciones 2. This work is a continuation to the piece "Sensaciones 1" by the same composer. The piece was inspired by the world of the senses and their varying levels. The composer notes the text at the end as a social complaint towards many countries around the world struggling with political peace. The excerpt comes from the film "Madadayo" by Akira Kurosawa.

Recording of Pierre Mariétan's Les dits de nobuyo. The composer states: "The "reality show" is that of the sound, of its own story implemented here in the relationship of the voices to each other with the noises captured, all of this inscribed in the silence of the composition. What these sounds, the voices, the story say, is to be interpreted by the listener according to his feelings, the awareness of what he perceives. The reality show does not want to be, like on television, the alibi of a unique and bygone reality. Its conclusion is that of the listener, discovering through the acoustic image that comes to him, not a visual representation of the sound (whatever one does one will never see a sound), but a formal configuration , dimensioned, resulting from the alliance of sound and space."

Recording of Michel Karsky's Contr'gris. This work was created for the Autumn Music Festival in Moscow and includes spoken Japanese and French text. The word "grisaille" is repeated several times and this composition plays on the notion of "grisaille". The title was recommended to the composer by a Russian musicologist who emphasized the importance of an accent when speaking it.

Concert presented at Winspear Hall at the Murchison Performing Arts Center.

Recording of John Gibson's Detour. This work uses recorded sounds of the subways in Tokyo and Kyoto, including machine sounds and platform announcements. The electronic sounds are meant to sharpen the qualities of the soundscape recordings which the composer created on a trip they made to Japan. The sounds of this piece are meant to suggest the feeling of disorientation and dislocation that come with traveling in an unfamiliar, fast-paced city.