Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recital presented at the UNT College of Music Concert Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recital presented at the UNT College of Music Concert Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recital presented at the UNT College of Music Concert Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Interview with Raymond Kilgore, a resident of Baytown, TX since approximately 1920. Mr. Kilgore discusses his family life and the early history of Cedar Bayou and Baytown, including the brickyards, the pontoon bridge over Goose Creek, the Interurban to Houston, the fig orchards of Highlands, and life and schooling in Cedar Bayou.

Interview with Jimmy Carroll, an early resident of Baytown, Texas. Carroll explains how he came to Baytown from Houston in 1919 to work at the Humble Refinery, and continues to describe the early history of the refinery. Carroll continues on to share stories about safety and working conditions as well as segregation and the Ku Klux Klan.

Interview with Louise Fowler Himes, who moved to Cedar Bayou in 1919 as a teacher. Mrs. Himes discusses life when she first moved such as her teaching and going to movies and games with other townspeople. Among other topics, Himes answers questions and describes her experiences with influenza, malaria, the Ku Klux Klan, and the hurricanes of 1900 and 1908.

Interview with Louise Travis, a resident of Baytown, TX since approximately 1920. Mrs. Travis discusses the early history of Cedar Bayou, including businesses, commerce, law enforcement and recreational activities, and meetings of the Ku Klux Klan and early storms of the area.

Interview with Blanche DuPlantis, a longtime resident of Baytown since approximately 1920. DuPlantis explains her work in creating a new Episcopalian Church within the city, and their ascension to parish status in 1936. Most of her stories revolve around the church and the original congregation from the early 1920's.

Interview with Barney Webber, a resident of Baytown, Texas since 1920. Webber answers general questions and describes life in early Baytown including crime, schooling, transportation and social life.

Interview with Roy Long, a longtime resident of Baytown after moving in 1929 from Houston, Texas. Long answers questions and details his early employment in Baytown at the Humble Refinery, and goes on to talk about his law practice, offices, and the growth of the town.

Recording of Klaus Ager's C.L.B. 512 for clarinet and recording.

"Hapsis" is a cello room in its own right. This one indeed is present not only on stage, but also through transformations carried out using digital means, exclusive material of the band. These transformations are not radical, it was not for me, thanks to virtuoso manipulations to "reinvent" the cello, but on the contrary to constantly keep the imprint by the development of some of its characteristics. No unheard sounds, but the meeting between a cello and his double and a constant concern for balance between the two for what I hope to be a small tribute to this instrument. Work done at the INA-GRM in Paris.

This composition is based on a magic square, which is on a copper engraving by Albrecht Dürer, entitled "Melencolia I" (dated 1514) The figures 17 and 34, resulting from the different additions, represent in this magic square as well as in my composition of the structural values. Numbers penetrate the composition in multiple ways, take the foreground to disappear to become elusive, rise to the surface to fall back into the vagueness. But it is still the magic square of Albrecht Dürer, without overturning or shimmering. It is not a matter of twelve-tone or serial technique. According to the rules that I asked myself, the figures of the magic square were joined by lines and geometric shapes very varied resulting that inspired me strongly by their symmetrical beauties. At the center of the composition, I worked with fifteen "mutants" of the magic square that originated from the fact that I always took another number (1-16) as a starting point. They do not have the same magical qualities, but have the same beauty of symmetry. I put them into a computer program to focus on "unreal" atmospheres as in a perpetual meditation, the composition circulates as part of this magic square.

It moves..., It moves not... is concerned with rates of change. The initial solo shakuhachi section opens with a ‘model’ structure which is continuously transformed to reveal the potential for change within the original form and a certain inherent resistance to this process. The tape part, realised at the Birmingham University Electroacoustic Music Studio, aims to reinforce or contradict the types of movement in the shakuhachi part, whilst retaining a degree of independence. Much of the source material for the tape is derived from the sound of another Japanese instrument - the shamisen. It moves..., It moves not... was commissioned in 1986 by EMAS with funds provided by the Greater London Arts Association. In addition to analogue source sounds the tape part uses synthetic material, realised in Music-11 at the electronic music studio of Nottingham University.

Recording of Wes Richard Wraggett's La mer de lumière.

Dedicated to Hélène Berton Sound Production based on texts from Marie Uguay Voices (by appearance order): Marthe Turgeon, Jean-Pierre Matte, Marie-Claude Trépanier, Gilles Laforce. The reading of the used texts suggest the creation of "poetic characters" that are so many views, words, interpretations stemming from the poetry. These caracters, which are four in number, were confided to many different voices: actor or radio-speaker, female or male, natural or transformed, alone or multiplied. In addition to this radio-style uses of the voice, are the electroacoustic ones by the use of interpretation choirs where the narrators echo the many-sided meaning of the poetry. The tittle was choosen in reference of an hospital room and also of this place, represented by the white colour-which included all the others-located between the birth and the death, maybe the ones of Marie Uguay (who was prematuraly dead in 1981 at the age of twenty-five), where all the virtualities, all the possibles are permitted. La Chambre Blanche was realised in 1985-86 at my own studio and at the studio of University of Montréal. This creation was possible following a grant from the Explorations program of the Canada Council. The texts of Marie Uguay come from the anthologies …

Recording of Philippe Blanchard's La Boîte de Pandore.

This is a concrete piece made in 1986. The sound materials in opposition are a "crash" hard, metallic and a serious white noise. However all sounds derive from the same source which is the recording of a train. The ways of recording and the sound world alone, can be seen as a cordial greeting to the financiers of electronic music.

"Wet" mainly includes computer-processed sounds. The rest of the sounds are produced by synthesizers controlled by computers and an acoustic violin.

This piece consists of connection of the "unit" of sounds. "Unit" has 18 minutes each and all. 12 patterns of the "Unit" have the original arrangement of sound-image, time-structure, reverberation, auditory localization, and arrangement of the series of time by the random operation (Monte Carlo simulation) or the structure used long tone only. The connection of the "Unit" was operated by the 3 kinds of random-numbers. (Uniformly random number sequence). There are 2 kinds of the water-tone. One is the sampled sound that was rotated and modulated of its waveform by digital sample. The elements of this sound were used from the recorded natural river sounds; sample late is 33 KHz. The other is the synthesized sound by FM tone generator. This isn't a natural sound. The group of the connection of the "Unit" by sampled sounds come on the group of the same connection of the "Unit" by FM synthesized sounds. The computer was used as the controller of these "Unit's", Aleatonic compose.

The composition uses the traditional structure of theme and variations in extended form and therefore could have also been called "Variations on a Children's Dance". It may be divided into four parts. 1) introduction of a part of the transformed theme 2) transformed variations on the theme and its variations 3) the theme 4) variations on the theme The theme (3) is a little Hungarian gipsy children's dance. I composed, realized and stored it and the variations on this theme (4) on analogue tape in 1983. The sound is produced by 24 analogue and 16 digital oscillators with the help of my own music program ILI (Interactive List Interpreter). After I built up a software communication system between different signal processing programs (Makrostikon), and after Paul Pignon`s Giant Fourier Transform program was ready to be used, I started to work on the piece in 1986. The new softwares allowed me to to continue work on the original material {3, 4). To start with, I digitized the theme and its variations (3, 4) made in 1983, and stored them in the VAX computer system of EMS, Stockholm. The working procedure afterwords included analysis, resynthesis, transformation and mixing. The underlying structure of …

Recording of Ari Taskinen's The Marriage of Hell and Heaven.

Recording of Johannes Poort's Berg.