Faculty recital performed at an unknown location.

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

Faculty recital performed at the UNT College of Music Recital Hall.

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

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

Guest artist 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 Recital Hall.

Faculty recital performed at the UNT College of Music Recital Hall.

Guest artist recital performed at the UNT College of Music Merrill Ellis Intermedia Theater.

Faculty recital performed at the UNT College of Music Concert Hall.

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

Faculty recital performed at the UNT College of Music Concert Hall.

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

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

Recording of Alden Jenks' Calcululations. It was made in the composer's home studio, using a Yamaha TX802 synthesizer controlled by a Macintosh Plus computer. The computer was running the Opcode sequencer "Vision". It is is dedicated to the composer John McGuire.

Recording of John Duesenberry's Agitato (Ergo Sum). The piece is comprised of six sections, each around the same length. This electronic piece uses a "hyper-flute" sound, trying to accurately mimic the sound of an acoustic flute while also exceeding it in its physical capabilities.

Recording of Amnon Wolman's The Day the Bank Came Through.

Disregard for the welfare of all aspects of the environment stem from the negative attitudes about life that prevail in our century. Champions of bloated Western consumerism are products of an age that has framed and glorified these negative attitudes in popular existentialist philosophies such as the "sex, drugs and rock 'n' roll" ethic - philosophies that serve to vindicate a short-sighted, self-centered, hedonistic indulgence in life. Caring, conscientious, forward-looking attitudes are frowned upon as naive and absurd. The physical manifestations of these negative attitudes (such as running riot with chainsaws in our life-sustaining rainforests*) have devastating consequences for the long-term health of both us and our planet. Recent climatic conditions suggest that the Earth is beginning to lose patience with humanity and is preparing to re-enact history - to flush its surfaces in one mighty cathartic ablution. But are we prepared to perish? My composition is an attempt to musically dramatize this line of thought ; it begins by presenting, in extreme form, the two conflicting ideological attitudes (the positive and the negative), and then develops into a presentation of Nature's singled-handed combat against "evil", and ends on a note of warning (i.e. the music is fictional ; in …

The term "lunar" refers to: taking on or relating to the moon. We all conjure (up) different images when we think of the moon. The moon has been described in literature in many ways, some examples are "the landscape of a great glacier" (John Hunt's Conception) and "shadows on the sand" (Kathleen Raine). Although men have walked on the moon and undoubtedly discovered many things, I often wonder what unreported mysteries it holds. The vast black blanket of space sometimes robs our view of the stars; but yet it allows us vaguely to see our moon. This has posed many questions for me, what "fun and games" are being played on the other side of the blanket? "Lunar New Year is my own realization of what happens on the other side.

"Delusional episode of short duration, bursting suddenly in a subject with a certain mental fragility." Larousse Dictionary My first attempt to make cinema for the ear. A beginning of scenario: a being who looks for himself dark in a fatal delirium. This piece would be divided into two parts: escape / isolation and fantasy / delirium. This scenario fortunately exceeded, I decide to focus on the internal space and its relation with form. I want to thank Francis Dhomont, Kevin Austin and Pierre De Gagné. This piece was made at the studios of Concordia University and the University of Montreal.

Incantations and Dances was written during the summer and winter of 1989-90, largely at the Virginia Center for the Creative Arts, the Ragdale Foundation and the Electronic Music Studio of Sweet Briar College. The work was premiered in March of 1990 by the contrabassist Salvatore Macchia, for whom the work was written, and the keyboardist Jeffrey Holmes. The work is a study in real-time interaction between, on the one hand, a pair of live performers, one of whom is playing a conventional acoustic instrument and the other a series of electronic keyboards, and, on the other, a pre-programmed computer partially controlled by one of the live performers. The melodic and harmonic material of the piece is serially derived, as is its formal manipulation, but there are improvisatory elements involved and there is a decided jazz inflection to much of the rhythmic material, particularly in the closing dance.

Composition about mineral's world. Sound are linked and harmonized together following the idea of talking minerals. Sounds synthesized on a YamahaTX81Z. Technical notes: Languages: Basic, Machine language 6510 Programs: C-Lab notator, Digidesign Softsynth, Turbosynth, Steinberg Cubase Midi controllers: Steinberg, Yamaha YME8 Computers: Commodore 64, Atari ST 1040 Tape machines: Revox A77, Teac A1230, Teac A3440 Mixer: Roland M160 Analog signal processors: Cabre AF34 stereo equalizer, Dynacord MDL110, Art Multiverb Synthesizers: Yamaha TX81Z Samplers: Roland S50, S330 Stereo 16bits 44.1Khz

I composed this work during 1988/89 at the L.I.P.M in Buenos Aires. The electroacoustic material was mainly generated and processed with an ARP 2600 synthesizer and other analogues devices, that's why its title. The guitar part -five little pieces- belongs to a largest piece for guitar alone (Dobles A, 1988). The formal organisation keeps the articulation in five parts but, four interludes and a finale -with only electronics sounds- were intercalated and superposed, producing different kinds of imbrications with the guitar part. In the relation between guitar and tape, I hardly could ignore the two main options in this kind of works (timbrical opposition/timbrical interpenetration) yet the dialog is not based mainly in the timbrical characteristics of materials but in their structural features like articulation, velocity, density, mobility, etc...; as well as in their possibilities to execute different formal functions. There are no sounds of guitar processed in the electronic part, but its material was generated by using variations on the pitch structure of guitar parts as main sound source and also, in some cases, as a control signal for different kinds of modulations. Finally, I must say that, When I heard my piece finished, I felt very surprised by …