Jazz Lecture Series presentation by Nat Adderly on February 28, 1984 at 9:30AM at the UNT College of Music. Includes lecture and performance by Nat Adderley, interspersed with questions from the audience.

Jazz Lecture Series presentation by Nat Adderly on February 28, 1984 at 2:00PM at the UNT College of Music. Includes lecture and performance by Nat Adderley, interspersed with questions from the audience.

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

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

Recording of José Manuel Berenguer's La Logica de la Sorpresa.

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.

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.

This work was made from basic material taken from human voice and electronic sources and was ended at the beginning of 1984.

Recording of Juan Blanco's Bucolica.

Recording of Juan Blanco's Fantasia en 3 Aguas y 4 Panicos.

Jazz Lecture Series presentation by Michael Brecker on March 3, 1984 at 9:30AM at the UNT College of Music. Includes lecture and performance by Michael Brecker, saxophone, interspersed with questions from the audience.

Jazz Lecture Series presentation by Michael Brecker on March 3, 1984 at 2:00PM at the UNT College of Music. Includes lecture and performance by Michael Brecker, saxophone, interspersed with questions from the audience.

"Chicharra's" is an ode to the Spanish landscape and the men populating this landscape. Sounds of nature such as the breath of the wind, the rushing of the rain, the rustling of the sea carry life in themselves. Thus the rustling of "Chicharra's", the cicadas, their singing narrative was recorded as a set of precious voices. These voices were sent electronically to the strings and then turned into new sounds. This process is comparable to that of instrumental music where the violin bow is coated with coniferous resin to awaken sounds. Thus the buzzing of the fly on my microphone has been transformed into a kind of huge chorus of men. With the poet Schierbeek, I exchanged the Spanish landscapes that we saw and listened to. From there, the poems are born. Poems with the subject of the little donkey, famous because irreplaceable, men work the earth, the thirst, the red earth, the dark wine, the family life and the evenings of Spain. It is the beautiful voice of Lino Calle de Segovia that I chose as an interpreter and it is by kissing the glance, in memory, the mountains of Gadarama that I consider "Chicharra's" as a tribute to …

“Vivo” is the "remake" of a work that has suffered several accidents; the worst of which was the partial erasure of the only existing copy, dice to a mysterious magnetic field. The changes have also affected his title, which now manifests its perplexity and its way of existence.

This piece was made at the Montgets in the summer of 1980 or 81 with simple production means, 3 Revox tape recorders, a pair of scissors and a small 4/2 mixer. It relies on sound recordings made during a weekend spent with the Théâtre du Rafeau du Mans (French Tanguy, Laurence Châble ...). In particular, I used a recording made during the descent and the rope climb at the bottom of a former wheat silo where we had a picnic and played some music. The piece uses this material by metaphorising it by transforming it with electroacoustic means into a fantastic fiction, where the dream and the death rustle in spite of the side in the train of the characters. But the train of the underworld goes very far to the depths of the cave.

Recording of a Jazz Lecture Series presentation by Ron Carter on April 17, 1984 at 9:30AM at the UNT College of Music. Includes lecture and performance by Ron Carter, bass, interspersed with questions from the audience.

Recording of a Jazz Lecture Series presentation by Ron Carter on April 17, 1984 at 2:00PM at the UNT College of Music. Includes lecture and performance by Ron Carter, bass, interspersed with questions from the audience.

Recording of John Celona's Possible Orchestras (At the 21 st Harmonic). The sound material for this composition was produced using several FM synthesis techniques. When listening to the piece, high regions of formants are obtained when compared to the frequencies at which the fundamentals are placed. Periodic vibrato is used to modify pitches across the entire width of the harmonic spectrum.

Mascaras is a work that tries to evoke all the multiplicity of situations, sensations, states of mind and atmospheres to which masks are linked ... Masks arise in procession, merging, hiding, to each other: the game, the mockery, the clown, the theater, the carnival, the joy ... And also the mysterious, the occult, the cruel and the savage, the solitude and the funeral, the fear. This work was realized at the Institute of Fonology in 1984.

Recording of Michael Clarke's Uppvaknande.

"De Wang" is a monologue set to music and wants to emancipate the "sound" at the same time. The piece is a musical reflection on isolation (and psychiatry) as a political remedy and as a reflection on musical aesthetics. The specific use of psychiatry and the treatment of prisoners shows how an incumbent government can deal with its contentious elements. Sensory depravation, (isolation), electroshock, medical treatment, psychosurgery, in fact new means of torture that are not yet recognized as such. This work includes "pure" sounds in their raw form, which have not been blurred by aesthetic standards. FNME Prize (awarded to composers under 35 years old) of the XIVth International Electroacoustic Music Competition of Bourges.

Music USA recording schedule for May 27, 1984 through January 27, 1990 (10741 - 12812).

This is a work based on the idea of a studio filling an orchestra. The introduction is obviously a play on works by composers such as Copland and other works by contemporaries of Copland, a play that quickly demonstrates the power of electroacoustic music to deal with large and colorful sound patterns. The development of the material and the structure is clear. There is also an obvious relationship to "Minimal" music, in reference to the way in which certain small models are structured together. After experiencing the North Sea, "Dawn" was a way for me to escape the spell of winters.

Where we speak, of course, departure, travel, farewell ("Leaving is a little dying ..."); but also of escape, of pleasure, of initiatory journeys, of imagined space and, again, of loss, oblivion, absence, "little death" and "great journey". It is not irrelevant that this piece was created in Marseilles, among the remains of the ancient Phocaean port; the first movement is a quick allusion to this journey back in time. The sea so close, inexhaustible and plural symbol, was to be present. She is, stubbornly. The wave proposes its energetic law to the whole and to the element: flow / reflux, growth / decay, appearance / disappearance. The concrete slides towards the abstract and then reappears. Points of anchorage in the real and furtive evocations (heard or guessed?) Emerge here and there. The origin of this work lies in an earlier piece, Vanishing Points, which she develops and which we find elements in the movement 4 (Theme of the flight). This movement constitutes the "peak of the wave" formed by the curve of increasing and decreasing durations of the nine movements. Some milestones for this route: 1- (2'04) Marine. Opening. Massalia / Marseille. 2- (3'32) Preliminary mapping. Generic, first lines, volume …