Recording of a Jazz Lecture Series presentation by Jimmy Heath on February 22, 1983 at 9:30AM at the UNT College of Music. Includes lecture and performance by Jimmy Heath, saxophone, interspersed with questions from the audience.

Recording of a Jazz Lecture Series presentation by Jimmy Heath on February 22, 1983 at 2:00PM at the UNT College of Music. Includes lecture and performance by Jimmy Heath, saxophone, interspersed with questions from the audience.

Recording of Reed Holmes's Carousel for choir and tape. The two movements represent a different aspect in the cycle of life: movement 1 "The Whispering Wind" is from the point of view of the Elder, introspective and thoughtful, and movement 2 "Carousel" is from the point of view of the Younger, rhythmic, aggressive, spontaneous, and freely melodic. The choir adds heterophonic elaborations of the pattern to the second movement.

Jazz Lecture Series presentation by Bobbi Humphrey on March 3, 1983 at 9:30AM at the UNT College of Music. Includes lecture and performance by Bobbi Humphrey, interspersed with questions from the audience.

Jazz Lecture Series presentation by Bobbi Humphrey on March 3, 1983 at 2:00PM at the UNT College of Music. Includes lecture and performance by Bobbi Humphrey, interspersed with questions from the audience.

Recordings of Yuji Itoh's La poëtique de l'espace for prepared piano. The composer has no real structure for this work, only wanting to let the audience listen to experiences. The work was realized in Studio STGU under the technical direction of Professor S. Sumitani.

The kendang is a Javanese drum. In Javanese music, the drum sounds are onomatopoetic, that is they are duplications of spoken language. An appropriate kendang player, however, will always tend to enrich his sound repertoire by imitating arbitrary sounds of the environment. My composition Dialogue refers to this. First the computer-generated sounds are introduced in an onomatopoetic way and imitated by the kendang player. Then the computer sounds develop in a way as to move finally far beyond the expressive power of the kendang. The natural and the synthetic sounds enter in a heavy conflict leading to a climax. The contrast is, however, bridged eventually by fragments of the Javanese music "Subakastawa" in the tender Slendro-9 tuning. The piece was created at Utrecht Muziekcentrum on the 24th of January 1984 with the collaboration of the Javanese kendang player Supangah Rahayu (Paris).

Recording of Richard Karpen's Mu Song. Karpen used the programs "Music II" sound synthesis language and "Score II" not list preprocessor in the composition of this piece. It was realized at the Center for Computer Music at Brooklyn College, City University of New York.

Recording of Joris de Laet's Khene dimensioned II. This work is for magnetic tape, and uses sound recorded from the khaen, a mouth organ from Asia, used heavily in Laos. 6 instruments were used. There are four parts to this work.

There is an axial note, Db, out of which some sounds escape occasionally, only to return to it. All other sounds are stratified around these, and the entries of instruments are somewhat free, in a quasi canonic imitation. The tape part was realised with a Synclavier II Digital Synthesizer at the Electronic Music Studio, McGill University. The piece was written for the Agrupaci—n Nueva Mœsica/Rosario [ANM/R] and its conductor, composer Dante Grela. Interferences III is dedicated to them. Premiere: August 14, 1983, during a concert organized by Asociacion de Amigos de la Escuela de Mœsica and the Facultad the Humanidades y Arte UNR, at the Sal—n Italia, Rosario. Chamber Ensemble conducted by alcides lanza. Canadian premiere: with the group GEMS, during the Festival of Canadian Music, organized by Carleton University, at the Ecole Secondaire de Lasalle, Ottawa, on February 27, 1984. LP recording: GEMS Ensemble, alcides lanza, conductor [McGill Records] CD recording: GEMS Ensenble and soloist Meg Sheppard, EMS 35th anniversary [double CD, McGill Records] Score: SHELAN, eSp 8310

Recording of Alcides Lanza's Sensors IV performed in 1984 by the McGill Concert Choir, conducted by Christopher Reynolds. The tape was realized at the Composer's studio (SHELAN Studio) and McGill University EMS in Montreal, QC, Canada. The piece explores different techniques of vocal wiring, especially the relationship of semantics, languages, and memory. The word "Memory" constitutes the entire text for the piece - using letter sound, recombinations of the word, and adding syllables from other languages that share similar etymology. Recording of the word "memories" -- Meg Sheppard's voice -- is used in the realization of the piece.

Composed for the Tinell Hall, at the Barcelona Royal Castle in the gothic quarter of the city, and the Percussionistes de Barcelona ensemble directed by Xavier Joaquin. Tries to use the space as an element in the composition, taking advantage of the peculiar reverberation of the stone wall hall. Space and electronic music create an appropriate environment which facilitates the reaction of the players, distant of each other; they just follow the signals of the central player surrounded by the public and the sound signals coming from their loudspeaker in the corners of the hall. The central player has the picture of whatever is going on, with the total sound, by following each player and the tape material coming from the 4 corners of the hall, enabling him to guide the piece thanks to his acoustical situation. The tape material uses electronic sounds plus processed sounds from different takes of sound structures Baschet.

Recording of a Jazz Lecture Series presentation by Mel Lewis on March 8, 1983 at 9:30AM at the UNT College of Music. Includes lecture and performance by Mel Lewis, drums, interspersed with questions from the audience.

Recording of a Jazz Lecture Series presentation by Mel Lewis on March 8, 1983 at 2:30PM at the UNT College of Music. Includes lecture and performance by Mel Lewis, drums, interspersed with questions from the audience.

Recording of Andréa Libretti's Frammento da "Ho".

Recording of Rune Lindblad's Metamorphoses.

Recording of Denis Lorrain's Les Portes du Sombre Dis. Conceptually, this piece uses a single elementary sound with a symmetrical dynamic envelope. This elementary sound is activated in different duration scales: from a few minutes to a few milliseconds. In exploiting this range of durations, and controlling varied time densities of different sets of elementary sounds, one can cover a domain ranging from long pure sonorities to isolated punctual events, and encompassing more or less rough sounding noises as well as smooth continuous textures. The chronological evolution of the characteristics of the sets of elementary sounds (density, duration, timbre, intensity, pitch, spatialization) is distributed among three asynchronous parallel global cycles: two of minimal contrast, and one of maximal. This cyclical form enforces the freedom of choosing a starting/ending point for each performance of the piece; it also makes it possible, the elementary sound being symmetrical in time, to state "Les Portes du Sombre Dis" in one direction or the other. Computer programs were used in some stages of the compositional processes, to assist in the manipulation of multidimensional graphs and to find solutions to the problem of building cycles of controlled global contrast in such structures. After completion of this …

Recording of Lárus Halldór Grímsson's Winter Romantic.

This is a co-production between the studio of the Technical University of Berlin and the Ghent IPEM Studio in 1984. The piece continues the line narrative of my other electroacoustic compositions, such as Fabulas, Fabulas segunda parte or El cuaderno del alquimista ("the notebook of the alchemist"). Charly finds inspiration in the science fiction fiction Flowers for Algernon ("Flowers for Algernon") by Daniel Keyes. This classic of the genre tells the story of Charly, mentally handicapped who, thanks to a surgical intervention, will become a genius. By testing a haunting insight, Charly discovers that the effects of the operation are reversible: he will return to his original disability. The piece does not follow a mirror shape, as the text might have suggested in the first term, but, through the various electroacoustic procedures, it proposes a perpetual metamorphosis of the materials: a minimalist melodic theme will become a motive of orchestral dimension, to be metamorphosed again into a whispered human voice. The piece is stereo / quadraphonic. Technical collaboration: Folkmar Hein for the Technical University.

Recording of Ricardo Mandolini's Poema Reiterado using the voice of Leonardo Martinez reciting Mandolini's own poem "Palabras" in an electro-acoustic composition. All sound material are disengaged from the speech of the spoken text (Sprachkomposition) which embodies the idea of the ancient synthesis between text and music. Realized at the Studio of the Musikhochschule in Cologne, Germany in 1983.

Recording of José Augusto Mannis' Cyclone. The composer describes this work as a language of electroacoustic music in which what counts is the gesture of the sound. The movement of the composition is lively, vigorous and energetic, creating clear musical articulations.

Recording of Tera de Marez Oyen's Ambiversion performed by Harry Sparnaay, bass clarinetist.

Recording of Gottfried Martin's Pax for tape. Includes electronic and natural sounds, including voice, news recordings, and recordings of war sounds.

Recording of Peter Martincek's Les insectes. Incorporates the sounds of insects into a electronic piece of music.