Recording of Pierre Mariétan's Les dits de nobuyo. The composer states: "The "reality show" is that of the sound, of its own story implemented here in the relationship of the voices to each other with the noises captured, all of this inscribed in the silence of the composition. What these sounds, the voices, the story say, is to be interpreted by the listener according to his feelings, the awareness of what he perceives. The reality show does not want to be, like on television, the alibi of a unique and bygone reality. Its conclusion is that of the listener, discovering through the acoustic image that comes to him, not a visual representation of the sound (whatever one does one will never see a sound), but a formal configuration , dimensioned, resulting from the alliance of sound and space."

Recording of Bertrand Merlier's O Houenouho. This work is created with electronics, speech recordings, and pre-recorded sound of differing sound environments.

Recording of Xavier Garcia's L'humeur du monde. This work was created for the purpose of an electroacoustic composition class directed by Pierre Schaeffer and Guy Reibel. This work is for electronics, pre-recorded sound, and electronic instruments creating rhythmic figures and effects, written by using traditional electroacoustic technique.

Recording of Denis Saindon's La roue du samsara. Electroacoustic, narrative, and vocal piece with multiple low-voice and multiple high-voice parts in stereo.

Recording of Jean-François Minjard's Double violence. This work is for electronics, pre-recorded sound, and voice.

Recording of Bernard Donzel-Gargand's Eloge de la folie. There are no vile or glorious acts that are not inspired by it: Madness. Absurd and radiant arrows seek their target among hearts overjoyed, overwhelmed with grief resting on a tree of illusions. The spoken and processed voice is used extensively. All of the processing is computer-assisted, using the MAX language, (warping, stretching, real-time playback of variable windows on various samples).

Recording of Eduardo Polonio's A-roving. This work begins with a reading of Lord Byson's "So We'll Go No More a Roving" and a story which is spoken in Spanish, about the architecture of Rome. The sounds are both pre-recorded and synthetic; there are nature sounds, sounds from inanimate objects, and synthetically built sounds.

Recording of Eric Mulard's La Loupe d'Orme. This work is for electronics, voice, and pre-recorded audio. The elm is a slender tree providing soft and hard wood. The elm burl is the most central part. It is the most precious space because it is rare and complex. To the eye, the elm magnifying glass offers a kaleidoscope of forms of relief, figures, circles, all at once harmonious and yet elusive in their contours. It depends on the viewing distance from the material.

Recording of Philippe Moënne-Loccoz's Vision urbaine II ou Annecy… et moi aussi! This work discusses the dissatisfaction from a composer's point of view and adds musical touches. These added changes makes these atmospheres resonate, which makes the work more alive, timeless, and technical.

Recording of Jürgen Bräuninger and Ulrich Süsse's Le bass de auf a bourges du dat. It is a work for saxophone, bass clarinet, and electronics. There are speech snippets which are accompanied by free improv from the saxophone and clarinet, while processed and manipulated recording of these instruments play in the background.

Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

UNT Symphony Orchestra and Grand Chorus concert performed at the UNT College of Music College Hall.

Ensembles concert performed at the UNT College of Music Concert Hall.

Orchestra concert performed at the UNT College of Music Concert Hall.