Recording of Jonathan Berger's "A pocketful of posies." The title refers to the Black Death of the 14th century, a time when people dealt with impending doom in much the same way as people do today. It was premiered at Stanford University in March 1984.

Recording of Joost Van de Goor's De Inwerking ("Influence"), which refers to a sign from the book of changes, I Ching. It refers specifically to the 31st hexagram which is based on the image of water, a small like on a mountain. In the piece, the clarinet (water) is looking for contact with the soundtracks (firm and unmoveable). The soundtracks were made by manipulating recorded clarinet sounds and composed using chance operations (using dice and coins). It was recorded in the electronic studio of the "Brabants Conservatorium" in Tilburg, The Netherlands.

Recording of Andrew Lewis's Logos. "Acousmatic" music for fixed medium (stereo).

Recording of Ricardo Teruel's "Un minuto de silencio per favor" for electronic sounds on tape.

Recording of Sukhi Kang's "Inventio" for piano and prerecorded electronic sound. He used traditional Korean rhythmic elements (multirhythms) and blends them within the context of Western music and electronics to create the piece. The electronic sound is primarily derived from the pitch G on the piano, which is then electronically manipulated by duration, pitch and tone.

Recording of Alain Thibault and Marcelle Deschenes's "Pot Pourri," a reduced version of the multimedia work OPERAaaAAH.

Recording of Gabriel Valverde's Una musica, un rumor, un simbolo.

Recording of Yvon Magnette's Akymyle.

Recording of Alejandro Viñao's "Triple Concerto" for flute, cello, piano, and computer. Triple Concerto was commissioned by Option Band with funds provided by the Art Council of Great Britain. The tape was produced and composed with a Fairlight computer music instrument at The City University Electro-Acoustic Music Studio in London.

Recording of Stanislaw Krupowicz's Music for S. The work is a computer generated tape, composed at CCRMA, Stanford University using additive synthesis and John Chowning's voice simulation instrument.

Recording of Miroslav Bázlik "Epoche 2 - 1984" performed by Jozef Podhoránský, cellist, along with tape recording.

Recording of Ira Mowitz's "A la mémoire d'un ami." It was dedicated to Norman Dinerstein, his former composition teacher and friend.

Recording of Shin'ichi Morita's "Sextet" for six analog synthesizer ensemble. The synthesizers are controlled with a computer.

Recording of Roberto Morales-Manzana's Presagio. The piece is a story about a strong tropical storm in the Tehuantepec Oaxaca region; while the storm is occurring, non-optimistic images arise from the spectator. Instrumentation includes two analog synthesizers (a harp 2600 and a korg 2100), voice and flute, which have been processed live through both synthesizers in addition to an analog pitch follower. Mercedes Benet did the voice and reading. Roberto Morales-Manzana did the flute and electronics.

Recording of Juan Piñera's "Tres de dos" ("Three of two"). The piece consists of three parts: a) "Primero de Dos" ("First of Two"), b) "Segundo de Dos" ("Second of Two"), and c) "Tercero de Dos" ("Third of Two"). The piece was dreated in collaboration between the composers Juan Piñera and Edesio Alejandro. The title is derived from the fact that the piece consists of three parts made by two compositions.

Jardin Secret I (Secret Garden, 1984-85) is a first study in a series of works, for which I have concentrated in making computer research on the relations between different musical parameters and processes, as well as my own musical thinking. I shaped primary models for various different, well-defined musical situations. Starting from these models, I intended to control various musical parameters, without forgetting their particular features. I wanted to find out whether these parameters could be treated starting from the same outset point. Since i have been interested for a long time in the idea of (musical) interpolation, my starting point was also partly determined by this interest, in relation to various specific musical and physical parameters. The dominating type of process in this etude is a gradual interpolation between two points, realized on different parameters in different scales. Sometimes this process is combined with sharp transitions between different characteristics in other parameters. The color and tone levels of the sounds are intertwined into an indissoluble processor FPS-100. All the sound material for the piece has been synthesized with this version of Chant. The mixing of the sound material was made with a Sony 24-track digital tape recorder. (KS)

Recording of Juan Blanco's Bucolica.

Recording of John Rimmer's De Motu Naturae. The work is a musical reflection on the author's personal environment. The movement of nature, of a large scale, cyclical, with ebb and flow, is listened to and rendered thanks to the use of accelerated and punctuated dramatic gestures. These elements contribute to the "dance" quality of the room.

Recording of Charēs Xanthoudakēs' Anamorphoses for tape.

Recording of Raoul Pavon's Fantasia Cosmica. This is a work for electronics.

Recording of László Dubrovay's Symphonia. The composition was produced in 1984-85 in West Berlin at the Technical University under the direction of Folkmar Hein. It was made with a "Synclavier II" digital system and a "Synlab" analog system. The process of composition went as follows: all the notes are composed exactly, programmed step by step into the memory of Synclavier II; this program controlled the instrumentation and all of the musical and sound transformation processes. This material was transformed and refined by the "Synlab" analog synthesizer. The work is of a classical conception, the first part has the form of a sonata. There are real themes, melodies united by a new harmonic system. In the movement, sounds are transformed through the use of poly-tempo, polyrhythms, and - as the composer states - "changes of meaning, as if they had not been realized by an orchestra or instruments." The second part is an adagio in the form of a bridge. It is a movement constructed in a dramatic and mono-thematic way.

Jazz Lecture Series presentation by Nat Hentoff on February 21, 1984 at 2:00PM at the UNT College of Music. Includes lecture by Nat Hentoff, interspersed with questions from the audience.

Recording of a Jazz Lecture Series presentation by Elvin Jones on April 24, 1984 at 2:00PM at the UNT College of Music. Includes lecture and performance by Elvin Jones, drums, interspersed with questions from the audience.

Jazz Lecture Series presentation by Mark Murphy on March 27, 1984 at 9:00AM at the UNT College of Music. Includes lecture and performance by Mark Murphy, vocals, interspersed with questions from the audience.