Recording of John Duesenberry's Decline. This piece features "Decline", a poem by Georg Trakl. Most of the sound sources come from bird calls, the poem itself, or a six-note collection by various electronic of solo string timbres. Pairs of these sounds are combined to form new sounds which partake of the timbral and rhythmic characteristics of both sources. The work has three sections; each stanza is recited at the center of each section.

JAC interview of Paulo Freire discussing critical literacy and pedagogy in relation to writing, philosophy, and rhetoric.

JAC interview of Stanley Fish discussing writing, philosophy, and rhetoric

Recording of Frederick Semeniuk's Neanderthals in a telephone booth. This piece takes a telephone voice from AGT telephone lines in Canada and processes the messages using multiple effects and sound manipulation. The work starts off simple and progressively gets more complex, which resembles the exaggeration of technology and understanding our world of communication, which may seem strange to Neanderthals or even kids. AM5477 and Audiotrack were used to create this work.

Recording of Andrew Lewis' Scherzo. The composer took recording of his three daughters voices together with some musical toys, which makes up the main source material. In their untransformed states these two pools of material form the poles of the work between which the music voyages over a variety of routes. Occasionally the journey is straightforward, children transforming directly into toys or vice versa, but more often the music follows a more meandering path, passing through transitory, equatorial realms in which the original sources are less discernible.

Recording of Stephen Gibson's Splice culture - Johnny Mnemonic (from Scren 1 of Spasm: the sound of VR). This work uses samples from radio and voice to create a futuristic sounding piece full of sound effects. There is a consistent beat along with the sampled songs which gives this piece a constant groove.

Recording of Jean-François Cavro's Traverser les galaxies blessées pour christal et hautbois. Performers must be willing to play 2 instruments (cristal and oboe), sonorities, and different factors. The composer recommends performers work on the virtuosity, the roughness, and the attack of the oboe as related to the timbre of the cristal.

Recording of Otto Laske's Treelink. This work is based on the reading of the composer's poem. The musical concept is supposed to enable the poem to show its fullest expression, assimilating music to its physical body. Few intelligible language fragments are heard. Emphasis is put on the spirit of the poetic text as embodied by its sound, not on its syntactic or formal structure. It was composed with the aid of Capybara and its Kyma language, beta-versioned on a PC, which the composer was helping to debug in the process of composing this piece.

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

Lecture given Sunday, February 23, 1992, 7:30 PM at Abilene Christian University

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

Lecture given Sunday, February 23, 1992, 7:30 PM at Abilene Christian University

Lecture given Sunday, February 23, 1992, 7:30 PM at Abilene Christian University

Lecture given Monday, February 24, 1992, 8:30 AM at Abilene Christian University

Lecture given Monday, February 24, 1992, 11:00 AM at Abilene Christian University

Lecture given Monday, February 24, 1992, 3:30 PM at Abilene Christian University

Lecture given Monday, February 24, 1992, 11:00 AM at Abilene Christian University

Lecture given Monday, February 24, 1992, 7:00 PM at Abilene Christian University

Lecture given Monday, February 24, 1992, 11:00 AM at Abilene Christian University

Lecture given Monday, February 24, 1992, 8:30 AM at Abilene Christian University

Lecture given Monday, February 24, 1992, 3:30 PM at Abilene Christian University

Lecture given Monday, February 24, 1992, 8:30 AM at Abilene Christian University

Lecture given Monday, February 24, 1992, 8:30 AM at Abilene Christian University

Lecture given Monday, February 24, 1992, 11:00 AM at Abilene Christian University