Sinfonia Concertante is modeled on the dramatic essence of its classic namesake: the interplay of the chamber orchestra and the computer music narrative; of sweet consonance and angry dissonance; of innocence and duplicity; of pleasure and sorrow. The text for the taped narrative heard through the piece is formed from excerpts from ten letters written by Mozart from Mannheim and Paris to his father in Salzburg during a nine-month period from November 22, 1777, to July 9, 1778. The text was digitally recorded in English translation by German actor Stefan Hurdalek, whose voice also served as the source for all computer music heard on the tape. The taped computer music was realized at the Center for Computer Music at Brooklyn College, C.U.N.Y., while the composer was guest in residence from February to mid-May, 1986, at the invitation of Charles Dodge, Director of the Center. Special voice analysis/synthesis techniques, developed by composer Paul Lansky of Princeton University, were utilized to achieve the pitched, talking-singing timbres and events. The orchestral score was composed at MacDowell Colony during six winter weeks in 1986 in New Hampshire and, later, five spring weeks at Yaddo in New York. The piece was commissioned by the Cleveland …

The cube is the representation of the sound block, it is composed as follows: - creation of a material - creation of a writing - spatilization - total interaction between the sound micro-structure and the shape of the sound block. It comes in different forms (perspective) according to its location in space. This is not a variation of the sound block, but its presentation in a form each time different. The whole of the symphony results from the composition of the sound blocks. It is from this concept that I have developed a methodology of work in three stages / three sequences, of which the last "souprematika" is the creation of a new musical aesthetic. The sequence 3: Souprematika This third sequence is characterized by the creation of digital sounds from the analysis of the sound spectrum of the raw materials of the sequence 1, and those of the sequence 2, with the aim of creating a melodic mass. The whole piece is computer controlled, its extreme precision allows me to have control over all the musical parameters: stop, changes of frequencies, cycles, dynamics, heights, intensity, etc ... ) The themes are exposed without their developments. Use of tone as …

Jazz Lecture Series presentation by George Simon on February 18, 1986 at 2:00PM at the UNT College of Music. Includes lecture by George Simon, interspersed with questions from the audience.

Jazz Lecture Series presentation by Dave Weckl on February 25, 1986 at 9:30AM at the UNT College of Music. Includes lecture and performance by Dave Weckl, drums, interspersed with questions from the audience.

Jazz Lecture Series presentation by Bob Berg on March 4, 1986 at 9:30AM at the UNT College of Music. Includes lecture and performance by Bob Berg, saxophone, interspersed with questions from the audience.

Jazz Lecture Series presentation by Jon Faddis on March 25, 1986 at 9:30AM at the UNT College of Music. Includes lecture and performance by Jon Faddis, trumpet, interspersed with questions from the audience.

Jazz Lecture Series presentation by Eddie Daniels on April 8, 1986 at 9:30AM at the UNT College of Music. Includes lecture and performance by Eddie Daniels, clarinet, interspersed with questions from the audience.

Jazz Lecture Series presentation by John Patitucci on March 22, 1988 at 9:30AM at the UNT College of Music. Includes lecture and performance by John Patitucci, bass, interspersed with questions from the audience.

Faculty recital performed at the UNT College of Music

Faculty recital performed at the UNT College of Music Recital Hall

Faculty recital performed at the UNT College of Music Recital Hall

Faculty recital performed at the UNT College of Music Recital Hall

Faculty recital performed at the UNT College of Music Recital Hall

Guest artist recital performed at the UNT College of Music Concert Hall

This piece is performed entirely in real-time from a classic clavier-type keyboard, and vocally. There are not pre-recorded tapes or interactive systems involved. The composer is the sole performer.

This piece uses concrete sounds, not retouched, of our urban environment (circulation, industry, trade etc ...) contained in an electronic framework. The title thus refers to the place where these two antinomic elements meet in an incessant conflict, symbolizing in this the games of tensions, contrasts, movements in delta, omnipresent in the work. Completed in June 1986, this work was produced in McGill University studios in Montreal using Synclavier II and DX-7 synthesizers. It has also received support from the Canada Council for the Arts.

Recording of Jonathan Berger's Diptych.

Quartet was written in 1978 and the tape portion was performed at the Columbia Princeton Electronic Music Center. The work includes an introduction that presents all the harmonic material and patterns used throughout the rest of the piece, followed by three main parts developed in the form of an arc. The outer parts of the arch are very close to each other, with the central adaggio for horns alone giving the contrast and serving as keystone to the whole structure. The performance heard on tape will soon be released on CRI disk.

This piece was written in 1986, commissioned by the International Conference of Digital Music (ICMC) in 1986 and written for Harry Sparnaay. The tape was created at CEMAMU in Paris using the UPIC system. The mixing of the tape was done at Stichting Klankscap. The sound material for the tape was limited in such a way that one approaches the confines of what one can normally associate with acoustic instruments in order to obtain a parity relation between the tape and the bass clarinet. In the same way the contrasts and similarities between the tape and the clarinet were calculated musically a kind of intimacy was pursued, no different from the current senses of intimacy with the machines in general.

Environs was written as environmental performance piece for outside performance in a large, open, urban square. It deals with our surroundings and the ways in which we perceive ourselves within the environment. In this case surroundings is taken in the broadest sense – physical, spatial, temporal, emotional. The piece focuses on the use of sound to manipulate our perception of the environment and attempts to create a new context in which new relationships lead to new forms of experience. Environs is scored for three Emulator II digital sampling keyboard instruments, soprano saxophone, tenor voice, and visual images. It mixes recognizable and abstract sounds to create a sometimes surrealistic, sometimes serene world of sound and image. Sounds present within the natural environment are welcome to mix into the piece to forge an integration with the real world.

Recording of Ton Bruynèl's "Kolom".

This piece was composed for three instruments and a live computer electronics system that includes a DMX-1000 Signal Processing Computer,and Transfer Processor (designed by Jo Scherpenisse), a PDP-11/34 computer, a PDP-11/23 computer and other equipment at the Institute of Sonology in the Netherlands. In this piece, the PDP-11/23 computer controls a Transfer-Processor and the PDP-11/34 computer controls a DMX-1000. The main program for the PDP-11/23 was written in FORTRAN and for the PDP-11/34 in PASCAL. The Transfer-Processor handles 256K memory where the sound of instruments, sampled live from the stage via the A/D converter, is stored. The Transfer-Processor deals with these sampled and stored instrumental sounds in memory and manages to produce sound via D/A converters. It also samples and produces sound at the same time. On the DMX-1000, three real-time computer sound synthesis programs written in micro-code, are running. In two of them, the instrumental sounds from the stage are sampled via A/D converters and their pitch and amplitude control some parameters for the real-time computer sound synthesis. During the performance, the synchronization (timing adjustment) between players and a live computer electronics system is realized by controlling two PDP-11 computers at two terminals in the concert hall. This piece …

Eclipse reflects the ongoing interest of the composer in evolutionary processes as models for musical ideas evolve simultaneously, but their evolution also reflects their interaction with each other. There are areas of predominance for the different musical entities and periods during which each is dormant. The large scale form of the 20 minute piece is in two halves of almost equal duration. The first half is itself in two parts during each of which a different type of musical element is predominant. In the second half of Eclipse there are more struggles for predominance among the materials.

L'Inizio is based on the "Big Bang" theory, on the beginning of the Universe, its expansion, the beginning of life (flute) till the appearing of man on the Earth (percussion sounds on the tape). The time scala used in the work does not correspond to the real time scala in order not to sacrifice the musical sense to the scientific reality.