Recording of Jonty Harrison's Klang realized in the Electronic Music Studio of Magyar Radio in Budapest during September 1982. It features the sound of earthenware casseroles and electro-acoustic techniques.

Jazz Lecture Series presentation by Don Sebeski on May 11, 1982 at 9:30AM at the UNT College of Music.

Jazz Lecture Series presentation by Grady Tate on May 4, 1982 at 9:30AM at the UNT College of Music. This includes lecture and performance by Grady Tate, drums, interspersed with questions from the audience.

Jazz Lecture Series presentation by Grady Tate on May 4, 1982 at 9:30AM at the UNT College of Music. This includes a lecture and performance by Grady Tate, drums, interspersed with questions from the audience.

Jazz Lecture Series presentation by Jackie Cain and Roy Kral on April 27, 1982 at 9:30AM at the UNT College of Music. This includes lecture and performance by Jackie Cain and Roy Kral, vocals and piano, interspersed with questions from the audience.

Jazz Lecture Series presentation by Jackie Cain and Roy Kral on April 27, 1982 at 12:30PM at the UNT College of Music. This includes a lecture and performance by Jackie Cain and Roy Kral, vocals and piano, interspersed with questions from the audience.

Recording of a Jazz Lecture Series presentation by Clark Terry on April 20, 1982 at 9:30AM at the UNT College of Music. It includes a lecture and performance by Clark Terry, trumpet, interspersed with questions from the audience.

Recording of a Jazz Lecture Series presentation by Clark Terry on April 20, 1982 at 12:30PM at the UNT College of Music. It includes a lecture and performance by Clark Terry, trumpet, interspersed with questions from the audience.

Jazz Lecture Series presentation by Tom Scott on April 13, 1982, 9:30AM at the UNT College of Music. The lecture includes a performance by Tom Scott, tenor saxophone, interspersed with questions from the audience.

Jazz Lecture Series presentation by Tom Scott on April 13, 1982, 12:30PM at the UNT College of Music. The lecture includes a performance by Tom Scott, tenor saxophone, interspersed with questions from the audience.

Jazz Lecture Series presentation by Frank Foster on April 6, 1982 at 9:30AM at the UNT College of Music. This includes lecture and performance by Frank Foster, saxophone, interspersed with questions from the audience.

Jazz Lecture Series presentation by Frank Foster on April 6, 1982 at 12:30PM at the UNT College of Music. This includes lecture and performance by Frank Foster, saxophone, interspersed with questions from the audience.

Jazz Lecture Series presentation by Dizzy Gillespie on March 30, 1982, 9:30AM at the UNT College of Music. Includes lecture and performance by Dizzy Gillespie, trumpet, interspersed with questions from the audience.

Jazz Lecture Series presentation by Leonard Feather on March 23, 1982, 9:30AM at the UNT College of Music. This includes lecture by Leonard Feather, interspersed with questions from the audience.

Jazz Lecture Series presentation by Joanne Brackeen on March 9, 1982, 9:30AM at the UNT College of Music. The lecture includes a performance by Joanne Brackeen, piano, interspersed with questions from the audience.

Jazz Lecture Series presentation by Joanne Brackeen on March 9, 1982, 12:30PM at the UNT College of Music. The lecture a performance by Joanne Brackeen, piano, interspersed with questions from the audience.

Jazz Lecture Series presentation by Bob Brookmeyer on March 2, 1982 at 9:30AM at the UNT College of Music. The lecture is interspersed with examples, questions and answers.

Jazz Lecture Series presentation by Bob Brookmeyer on March 2, 1982, 12:30PM at the UNT College of Music. The lecture is interspersed with examples, questions and answers.

Recording of Mauro Graziani's Landing. It uses computer both in composition and sound synthesis. Other programs used in composition include ALGEN and MUSIC360 program. Landing was realized at the :Centro di Sonologia Computazionale" (University of Padova), March to April 1982.

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 Ton Bruynèl's radio composition on the theme of "Le Petit Prince" by Antoine de Saint-Exupéry, "Adieu petit prince." The text of the composition is partly taken from a critical analysis of the children's book entitled "Fantaisie et mystique dans le Petit Prince" by Yves le Hir. The piece was commissioned by the Netherlands Broadcasting Foundation.

Recording of Iván Patachich's Alterego per percussioni solo e nastro. This piece wants to use the possibilities of electroacoustic modulation in the field of percussion instruments. The score of the composition consists of four parts noted in a traditional way. The second, third and fourth parts are transformed by electroacoustic means, the first part remains without any modulation. The piece consists of short sections. During these sections, free rhythms alternate. The composition has a bridge shape, culminating at the end of the fifth section. The main modulations are: filtering with control voltage, feedback, transposition, spatialization, etc.

Recording of Iván Patachich's Alterego per Percussioni Solo e Nastro. This piece wants to use the possibilities of electroacoustic modulation in the field of percussion instruments. The score of the composition consists of four parts noted in a traditional way. The second, third and fourth part are transformed by electroacoustic means, the first part remains without any modulation. The room is made up of short sections. During these sections, free rhythms alternate. The composition has a bridge shape, its climax is at the end of the fifth section. The main modulations are: filtering with controlled voltage, re-injection, transposition, spatialization, etc.

Recording of Patrick Lenfant's Alternances. Alternances explores a different aspect of other synthesizer pieces that I have previously composed. The synthesizer is used here as a generator of as varied an electronic material as possible. This material and its temporal articulation, instead of being definitively fixed on a magnetic support, will evolve according to the instrumentalist. Indeed, this one has two control pedals, piloting the synthesizer and allowing it to make coincide its playing and its musical time with the variations of the electronic material which it controls completely. Alternatively, the synth will generate pure electronic material, or the flute will interfere with it either by modifying it or by triggering it. Instrumentally, many game modes are put into action. The flute player alternates these precisely in relation to the score. The spirit of this piece is that of a "fantasy" creating ranges free of improvisation, in a way testing the flexibility of the electronic variations that can be obtained from a device that is not in the strict of the term an "instrument", but which can become so if one imagines the means to control it, to "sensitize" it to instrumental playing.