Electronikus Mozaik ("electronic mosiac") for stereo tape was commised by the Hungarian national film production organization, MAFILM, for a first performance in Budapest in May of 1984. The work was realized using digital sound generation facilities, in particular the Yamaha DX-7 synthesizer, at the Queen's University Electronic Music Studios in Kingston, Canada. The piece was conceived as a sonic analogy to a visual mosaic. Points of sound with various colors, or timbres, correspond to the bits of colored stone found in the visual mosaic. The sonic colors are worked into variously similar and contrasting rhythmic contexts intended to encourage the listener to move his/her mental focus among the larger and smaller levels of structure but to find coherence and, in particular, continuity at each of these levels. At the micro levels of the work the richness and variety of the individual points is meant to attract the listener's attention, while the macro levels comprised of interwoven streams of points merge into structures which are meant to engage and hold the listener's attention.

Written for two analog, polyphonic and programmable synthesizers. This first sequence is a bit like a traditional sonata at the level of the spirit that governs the 4 movements that compose it as well as some formal concerns. However writing for synthesizers is a matter of instrumental design is typical to this instrument all that concerns the sounds used as the game modes, especially the systematic use of filtering as a game element or "montage" programmed sounds.

This piece for magnetic tape is - from several points of view - a confrontation of various worlds. First of all, on the music-technical level: the production process. The means of the classic studio, the manual aspect of the work on one side, the generation of basic sound materials on the other side. In addition, the piece is a confrontation of concrete sounds and electronic sounds.The complex spectrum of the human voice is used in this case as a "plastic algorithm" of great flexibility and considerable variability. A hybrid, quantitative analysis results in information that is used by the program to make decisions for controlling a program outside the computer. The program conceived and developed by the author (Oscar, acronym for Oscillator Artist) allows a complete navigation between one-to-one relations and a completely automatic algorithmic synthesis, in the human dialogue-to-machine. This piece was designed for tape but performed with live performance procedures. The piece uses some FM sounds recorded at the Studio of the University of Toronto in 1979. The piece was made in the private studio of the author. The final mix was performed at the IPEM studio, Ghent, in November / December 1984.

Recording of José Vincente Asuar's Elegie à la mort d'un être bien-aimé.

Los ojos de mis sueños is a work composed in the studios of IPEM, which resulted in my encounter with man-machine. I set my anguish and impatience there, based on the line: What the eyes of my brilliant dreams is beyond death. The pain and the impatience of the synthesizer are of equal importance in the composition.

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.

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.

Jazz Lecture Series presentation by Nat Hentoff on February 21, 1984 at 9:30AM at the UNT College of Music. Includes lecture by Nat Hentoff, interspersed with questions from the audience.