Recording of Jonathan Berger's An Island of Tears.

Subterranean Network, commissioned by Hartt School of Music, is an electronic work which seeks to evoke a sense of the experience of the tunnel fighting in Cu Chi during the Vietnam War. These tunnels, from which the Viet Cong fought much of the war, were dark, narrow, poorly ventilated hell holes, filled with booby traps and inconceivable real and psychological terrors which plagued the American soldiers, known as tunnel rats, whose duty it was to explore them. These men, if not killed by booby traps, snakes, spiders or scorpions, were in constant threat of ambush in the tunnels.

Music for Viola, Cello, and Tape was written and premiered in Paris in 1985. This work brings together two extremely different aspects of my musical experience: improvisational music and music involving computers. These two musical domains, representing intuition and rationale - opposites yet complements - hold a great deal of interest for me. This trio explores the interactions among three soloists, one being a tape of computer-generated sounds; in which no part plays a secondary role. The two-channel tape, was composed at the Institute of Sonology, Utrecht, The Netherlands. A computer, using stochastic procedures, was involved on every level of the composing process, from sound-synthesis algorithms to higher-level compositional decision-making. All programs were written by the composer in an assembly or high-level language and used in a real-time context. The compositional algorithm is based on an elaboration of Brownian movement, also known as a random walk. A tendency controlling pitch and duration of sound events delineates overall formal characteristics of the tape. Duration and pitch are tied parameters during the first section. At a certain point in the development of the tendency the two parameters, pitch and duration, become independent of one another. In time, the duration/pitch tendency becomes clearly …

It is a piece for 4-track tape, composed between November 1985 and August 1986 at CEMAMu (Centre d'Etudes de Mathématiques et Automatique Musicale) in Paris, using the UPIC, a graphically oriented computer system designed by Iannis Xenakis. The mixing was done in October 1986 at the Experimental Studio of the Polish Radio and Television in Warsaw with Ewa Guziolek as sound engineer. With the UPIC system, the composer is able to design all aspects of the music by means of an electro-magnetically sensitive drawing table. By means of a digital tape drive and D/A converters, data and sounds can be heard and stored, and higher level mixing of sounds and sections of the score can be done digitally. In "Voyage", there is a concentration on continual transformations of all parameters of the musical material; waveforms, dynamic forms, pitches, textures. For large sections of the piece there are five 'voices', which are similar but independant, and with rhythmic structures which are related to each other with the proportions 9:10:11:12:13. In the spatial projection, the four channels are divided into left and right, each side being in stereo (i.e front and back). Voices 9 and 11 are heard on one side, and …

Composed in the Laboratory of Investigation and Musical Production (LIPM) of the Recoleta Cultural Center, Buenos Aires, Argentina. Was composed with a Synclavier II. The original mixture was composed in four channels. The sonorous material was elaborated from 34 basic timbres generated from sinusoidal sounds, harmonic, inharmonic spectrum or colored noise bands. The different structures happen one after another, without stopping.

A universe. Self-contained. Where timbre were the principal item. To force it into another state; apart; and let it, in accordance with its own laws, return to its rest; and then to begin to compose. Bend and vary, change and break. To alter some kind of perfection in order to attain something else. Two main items shared the conception of this piece: the possible richness in perception provoked by the duality: whole versus parts; and the possibility of mapping into musical events the behaviour of an abstract system of interrelated objects when following an stochastic process towards its equilibrium. My first step was to define, in terms of a macro-static situation, the final state of my system. This final structure defined the harmonic, dynamic and timbrical aspects of nine different "objects" (fundamental, formant areas, subharmonics,modulations and relative microcomportment of these characteristics within one instance). The relative durations in the equilibrium of these objects, as well as the whole duration of the piece, the structural points defining the macroform, and other characteristics of the whole (hierarchies, symmetries...) were evolved from this final state of the system. {I was careful to define very colourful and individualistic microbehaviours for these objects, whilst, on …

"Sound recycling" would be the perfect term for Gerald Trimmel's composition cycle called "Palimpsest". When Trimmel performed his first "Palimpsest" in 1985, he did not consider this work as a final result. The following compositions were characterized by various procedures of sound accumulations and structural rearrangements. A lot of acoustic ready mades and complex structured sound elements were inserted, which first covered up and by and by extinguished the older ones. So the shrinking and dissolving fragments and the "young" and powerful soundscapes appear as antagonists of something like "aesthetics of dissapearance." The composition principle is based on the Palimpsest-technique (from the greek "palimpsestos"), which was used until the Middle Ages: manuscript pages or books, that have been written on, were scraped off, and used again.

"Alternances" for violin, clarinet, piano, percussion, cello and tape was written in 1985, the electroacoustic effects being made in the studio of Romanian Radio-Television. The room consists of seven sections, including sections 2, 4 and 6 on tape. The 6th section on tape and "life" is the recurrence of the second section, of the same existing correspondence between sections 1 and 7, 3 and 4. The dominant idea of ​​the work is that of the imbsication of parallel music, with particular character and evolution. The music "life" is transformational, while that recorded in advance is non-transformational and has the appearance of a sound plasma; the first is discontinuous and the second - continuous. From the expressive point of view, the sounds "life" suggest belonging to the world of appearances; on the contrary, the sounds recorded on tape suggest a world of essences, permanence.

Sound recording of panelists at the Lone Star Sesquicentennial conference hosted by the University of Texas at Austin. Moderator: Archie McDonald; First panelist: Margaret Sweat Pinson; Second panelist: Daniel E. Fox; Third panelist: Dr. Marilyn McAdams Sibley, reading, "Lone Stars and State Gazettes: Texas Newspapers Before the Civil War." Side A ends in the middle of Pinson's lecture. Side B begins with Fox's presentation, and ends in the middle of Sibley's lecture.

Recording of John Elmsly's, Triptych. In this work very simple technology is explored for musical results: the tape part was created using nothing more than one synthesizer, sequenced and overdubbed in real-time on a multi-track tape recorder. In all three pieces the aim was to write enjoyable but challenging music where the tape enlarges the performing space for the solo trumpet.

Recording of a Jazz Lecture Series presentation by Randy Brecker on February 26, 1985 at 9:30AM at the UNT College of Music. Includes lecture and performance by Randy Brecker, trumpet, interspersed with questions from the audience.

Jazz Lecture Series presentation by Joe Henderson on March 5, 1985 at 9:30AM at the UNT College of Music. It includes a lecture and performance by Joe Henderson, saxophone, interspersed with questions from the audience.

Jazz Lecture Series presentation by Joe Henderson on March 5, 1985 at 2:00PM at the UNT College of Music. It includes a lecture and performance by Joe Henderson, saxophone, interspersed with questions from the audience.

Jazz Lecture Series presentation by Bill Taylor on March 12, 1985 at 9:30AM at the UNT College of Music. It includes a lecture and performance by Billy Taylor, piano, interspersed with questions from the audience.

Jazz Lecture Series presentation by Diane Reeves on April 23, 1985 at 2:00PM at the UNT College of Music. Includes lecture, master class, and performance by Diane Reeves, vocals, interspersed with questions from the audience.

Jazz Lecture Series presentation by Bill Watrous on February 19, 1985 at 9:30AM at the UNT College of Music. It includes a lecture and performance by Bill Watrous, trombone, interspersed with questions from the audience.

Discussion and comparison of two Mizo dialects: the northern and southern dialect. For example, "in the north we say X, and in the south we say Y." The male speaker is from the south, and the female speaker is from the north.

Recording of informal conversation in a family home.

Recording of informal conversation in a family home.

Recording of a conversation with an unknown child.

Recording of a personal letter to a family member who is traveling, updating them on the children at home.

Recording of a personal letter to a family member about how the nieces and children in the family are growing up.

Recording of a personal letter to a family member who is traveling. Teenage cousins are having informal conversation and joking.

Recording of a personal letter to a family member who is traveling.