A guest artist recital performed at the UNT College of Music Recital Hall.

- Third movement of the suite "Boustrophedon ä'e'i". Order from the city of Marseille for the Bologna Biennial 88. Intrauterine journey of the modern poet whose heavy and unique obsession is to break the jar of the interior in order to discover the Woman. Sounds then the Sacred Noise, the first awakening of the Tectonic Blacksmith: "What is heavy, is low! What is light is high!", First awakening of the Water-the-unfathomable: "Who can imagine the sea before the first rain? What sound was thunder at this time? "

Texas novelist, Elmer Kelton compilation of short stories and body of work revolve around the cowboy life, which is not myth but reality.

In Asi el Acero, I tried to marry two very different sound worlds: the steel drum, generally associated with Caribbean music, and the world of electroacoustic music, usually associated with technology, computers and synthesizers. In order to find a coherent ensemble for both, I have done important research in the classical repertoire of steel drum, music by nature very "noisy", very rhythmic and very repetitive. From there came to me the idea of ​​using small rhythmic cells to adapt the fixed idioms to the instrument itself, so its role in Asi el Acero is a very precise rhythmic direction. Concerning the sounds on tape, I used them as extensions of the instrument played live -as a giant steel drum band- whose role would be to accompany the instrumentalist and, more importantly, to articulate the rhythmic structure and produce strong accentuations to give impetus- or in terms of Caribbean music- to "kick" the principal instrumentalist. These tape-like (or computer-controlled) sounds are steel drum sounds, sampled and processed just like synthetic sounds. From a rhythmic point of view, the piece explores the use of the legend and the medieval atmosphere. In plain language, this means that the small rhythmic elements are combined …

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Twenty years ago, there were various forces in American culture that had political and artistic significance. The unconscious unease of the 1950s continued in force at the same time as the struggle for American civil rights, but attracted the attention of the media. The artistic response of the avant-garde was unaware of all these events and in its own search for freedom created events called “Happening.” This one-night event recalls all cultural conflicting tendencies from the composer's point of view. Included are sentimental journeys in the unconscious past and the consequent glorification of the automobile and its central role in American culture. The automobile represents the vanguard as a delightful machine that goes nowhere.

Recording of Eduard Artemiev's Mosaïque.

Painting of brown and black with white hatch brush strokes over dark pigment.

Allegory (11’52”; 1987) is my second composition in the medium of computer music. It was created at the Brooklyn College Center for Computer Music on a Sun 3/160 computer, using the Csound synthesis program and Fromp, a music composition program developed by the composer that generates musical fractal structures. All of the sounds heard in this piece, pitched or otherwise, result from a filtering of white noise. The idea behind Allegory takes its inspiration from the music of the duduk, an ancient Armenian double reed instrument of a particularly haunting and beautiful quality. Often in duduk music, there are two players. One plays the melody while the other, through circular breathing, plays a continuous drone on a single pitch. The melody emerges from this drone, plays beautifully and all-too-briefly, only to return inevitably to the drone. In Allegory there is an ever-present drone composed of thirteen frequencies that are the source material for the entire piece. A fractal texture based on these frequencies emerges from the drone and grows to prominence, only to undergo a transformation: certain elements of the fractal die away while those which remain align themselves and synergize into a new quality, the sensation of a single …

Rhythm is a vital characteristic of man and nature around him. We are not always able to perceive every level of rhythm. This often masks a reality that some of us, despite the consistency of some ontological visions, feel like escaping power, love, and the senses. "Buleria" is now a being independent of me although it is me who shows it; it is a fruit of my thought, to which I am no longer the only one to have access. "Buleria" is, from the beginning to the end, an algorithm that takes shape by itself after being thought. He is there, he is alive.

Birds, at random, create their landscape This is a complex sound object found (in the manner of Duchamp) in a privileged sound space.

The chalice represents a cultural icon of both religious and scientific significance. Renaissance painters used the chalice as an object of study for the newly acquired understanding of perspective. In particular, Dürer's Studies of a Chalice presents the object in progressively rotated angles in a way startlingly similar to many computer graphic presentations. This work attempts an aural analogy to perspective changes. Software written by the composer takes musical material and audits it through weighted dimensional 'filters'. The work was premiered at Merkin Hall in New York and subsequently performed at the ICMC, SEAMUS, and CCRMA Festivals. In addition the work has received performances in New York, Los Angeles, Baton Rouges, and Columbus.

Oscar is a computer program and a simulation of a living musician. It is designed explicitly to interact with a human musician. Oscar is both social and egocentric. Its aim is to express concern with its human fellow performer while at the same time wishing to put forward an individual musical character. This means that although Oscar is receptive towards its human partner, it may behave in ways that are quite unpredictable. My ongoing musical relationship with Oscar aims to set up musical dialogues where both man and machine share responsibilities. The scope of these musical conversations is determined and guided by the personality of both the system and the human performer. The actual performance features basic ideas and real-time decision making that emerge from mutual interpretation of abstract messages sent back and forth between man and machine. The idea is that both interact and try to produce exciting music in a common effort. Most recently, I have tried to set up a framework where both man and machine may behave at equal of autonomy.

Opening music for a Café-Theater show. The daily observations of a girl prolonged, a woman who still behaves as a young girl! From tea room chatter to a very, very, very… meager delirium.

From the Other Side of the Glass is an electro-acoustic composition for many speakers in three movements, played without interval. The sonorities consists of and has emanated from human work, fragments of instrument sounds and cuts from nature. Bilad Human work and activity are form and sound catalyst in the first part. Short fractions from one as well as many lifes. Pålad Here it is human acts in form of improvising musicians that is most important for material and development. Many thanks to Paul Pignon, saxophone, and Raymond Stridh, percussion, for their participation. Enad The nature and incidents from it is the formal and sonorous starting point for the last movement. The sort of predictable impredictability that we call natural is of high importance in this part.

Convocation, including a lecture and a faculty recital performed at the UNT School of Music Concert Hall.

A faculty recital performed at the UNT School of Music Concert Hall.

Sculpture of seven photographs with seven electric lamps and one hundred ninety-two tin biscuit boxes containing cloth fragments.

A parterre of joy the pretty space trapeze. Mechanics of Lightning Febrile ions exploding the thunderbolt, the storm heard but misunderstood answers its sound. Stun! Splash of silences. Water itself carries within us who transport it, who season it with our multiple moods; well. A perfect liquid by listening to our cycle in condensation and in flow of attractions. Waterstone, from my heart a stroke of frost. The work is dedicated to Francis Dhomont. Pierre Bouchard: "Wedge the time between my teeth. Concide with the present. I like the sound ecology, the phonic reserves. In the mesh of training, too. Lead the noise in concerted moments ... That's it!”

Recording of Emily Brant's Tuneless Circles.

Recording of Nicolae Brînduș's Archaeusin Euphonia. In this work, the electronic-music is a play back for the performance "live" of the musicians. Their involvement in the play is more or less free or proposed by the leader of the group. The recording is a version dedicated to the group "Archaeus" of Bucharest conducted by Liviu D_nceanu.

Jazz Lecture Series presentation by Ray Brown on April 19, 1988 at 9:30AM at the UNT College of Music. Includes lecture and performance by Ray Brown, trumpet, interspersed with questions from the audience.

Jazz Lecture Series presentation by Ray Brown on April 19, 1988 at 2:00PM at the UNT College of Music. Includes lecture and performance by Ray Brown, trumpet, interspersed with questions from the audience.

All durations and pitches have aleatoric (random) values. Only pitches and durations of the form are constructed by another system. The source Material is created by some frequency modulated Sinus generators. You can hear this material at the beginning with a crescendo. The basic form is created directly out of this material by using two kinds of technique: 1. Subtraction (Filter) 2. Addition of filtered Material 3. Transposing and adding the new Transpositions. All of the structures of this piece are created by using these 3 techniques in concrete (the 3 transpositions of the basic form) or an abstract way (look to the upper line of the partitur). The concrete way: The basic form uses 3 types of filtration high (in the area of 5000 Hz: a), middle (between 500 and 800 Hz: b), low (in the area of 200 Hz: c). The basic form is created in this way: source material 30sec; 1a: 50sec; 1b: 30sec; 1c: 60sec; 2: 10sec 2+1: 40sec; 3: 20sec 3+1: 70sec. This form is used in 0.5 and 1.1 Transposition and 1.6 retrograde Transposition. This 3 Forms are positioned in that way, that they could culminate in the Transposition (look point 3) This construction …