This work involves contrast; the design is primarily articulated by the treatment of ambiguous, complex, and evolving musical motion. The sense of motion in this piece might be aptly described as the result of an ever-increasing energy state. Like a cold heavy liquid, the beginning music flows, but its motion is deliberate, always on the edge of stillness. Attention is drawn away from elements of progression to focus on the changing colors and minutely shifting surface patterns. This gradually gives way to a more heated, active confluence. The progression is from the deliberate beginning, into off-balance, slow motion dance music, through oscillating, vibrating activity, to kinetic, driving music which breaks through to a floating, free state. The title could be interpreted as a representation of this ever-increasing flow-music that always seems to rise and turn in a complex balance which eventually produces a clear pattern of increase. Along with the exploration of varying states of motion this piece is also concerned with an interplay along the continuum from clearly pitched sounds to highly complex, noisy sounds. The piano is primarily responsible for the clearly pitched end of the spectrum while the percussion explores the noisier domain. The synthesizer's role is …

In "Luz de Invierno" I consider the additional resources to the interpretation (the cello processing and the pre-recorded material) as an extension of the instrument in more than one sense, since the sounds that the track contains, were originated in the cello itself, to then be transformed in the laboratory through various procedures, until a true extension of both the record and the timbre of the instrument itself. The interpretation also proposes alternatives, by using contemporary instrumental techniques that discover the unsuspected and vast potential of the cello, enriching its color palette. "Luz de Invierno" is a stimulating exploration exercise whose results are naturally integrated into the musical discourse, which provides the listener with an approach to new sound universes.

Like colours, the sounds are composed using a keybord like brush and time like canvas. The work has two parts: first the painter freely paints an abstract subject and second he compose a defined subject. This work was originally composed for voices, bassoon and tape but this is the unique realization. The sounds were generated using additive, frequency modulation, ring modulation synthesis and sampling.

It's silence ... You are alone with yourself, imponderable entities suddenly appear to your mind. Unspoken things, hidden by the mind, emerging in the hesitation of a whisper. This murmur that touches the conscience and leaves it already veiled with a bitter worry. The mysteries of our mind are fratricidal debates, old and nourished by our whole existence. Some are revealed to the conscience to prolong only their dull struggle but none of them resolves. Here there are intimate landscapes with condemned horizons, delicate and febrile atmospheres, landscapes composed of sinuous shadows, trembling even among the few fleeting gleams. Their troubling aspect lies in what they can reveal, in the tension they contain.

Rituals explores the role of ritual as tradition and in everyday life. As the piece progresses motifs change as they are passed from one percussionist to another. On one level, rituals represent strict control in our lives, much as tempo and downbeat control a musical performance, yet if they are to survive, rituals (ie musical motifs) must remain flexible enough to change as the need arises. While the overall form of the work has been determined by the composer, many of the details of the music have been realized using a computer program, written by the composer, which applies algorithmic processes to musical parameters such as pitch, duration, sound location and choice of timbre. All algorithms have been constructed by the composer to create a sense of development within a framework of repetition.

Historically, Balkanization refers to the nationalistic division of the Balkan peninsula in southeastern Europe into many small, antagonistic states in the years preceding World War I. For this piece, I have taken several very brief excerpts of traditional village music from Bulgaria and Yugoslavia, and have separated, put them into various levels of conflict, and have finally tried to reconcile them as much as possible. The tape from which I have taken the excerpts which form the basis of Balkanization was compiled by my sister from materials she collected on a trip to Yugoslavia and Bulgaria in the late 1970's.

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.

Recording of Jan Wiese's Stilleben Last Part.

"Timbral" was realized partly at the Magyar Radio Electronic Studio and partly at the Radio Belgrade Electronic Studio. The work in the studios involved diversity of technical equipment, both analog and digital. Though almost any sound is attainable by means more sophisticated equipment to day, nevertheless it could be maintained that every kind of equipment possesses undesirable consequences of the use of analog and digital techniques simultaneously, the blending of sounds in the piece was mainly accomplished vertically, not horizontally. Thus a possible critical variety was turned over to the enrichment of the sound palette. By emphasizing the importance of timbre (what the title derives from), it did not become dominate as a decoration but kept the role of an important constructive principle.

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

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

Faculty performance in memory of Philip Montalbo M.D. given at the UNT School of Music Concert Hall.

A jazz faculty recital performed at the UNT College of Music Recital Hall.

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

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

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

Jazz Lecture Series presentation by Lewis Porter on February 16, 1988 at 9:30AM at the UNT College of Music. Includes lecture and performance by Lewis Porter, jazz historian, interspersed with questions from the audience.

Jazz Lecture Series presentation by Bobby Shew on March 1, 1988 at 9:30AM at the UNT College of Music. Includes lecture and performance by Bobby Shew, trumpet, interspersed with questions from the audience.

Jazz Lecture Series presentation by J.J. Johnson on March 8, 1988 at 9:30AM at the UNT College of Music. Includes lecture and performance by J. J. Johnson, trombone, interspersed with questions from the audience.

Jazz Lecture Series presentation by Mary Fettig on April 5, 1988 at 9:30AM at the UNT College of Music. Includes lecture and performance by Mary Fettig, saxophone, interspersed with questions from the audience.

Jazz Lecture Series presentation by Frank Wess on April 12, 1988 at 9:30AM at the UNT College of Music. Includes lecture and performance by Frank Wess, saxophone, interspersed with questions from the audience.

Jazz Lecture Series presentation by James Williams on April 26, 1988 at 9:30AM at the UNT College of Music. Includes lecture and performance by James Williams, piano, interspersed with questions from the audience.

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

A faculty recital performed at the NTSU School of Music Recital Hall.