Card from Charlyne Creger to Rigdon Edwards discussing the number of remaining WASP, his attendance to the Silver Wings reunion, and his travels in the near future. On the cover is a painting by Winslow Homer titled "The Reaper".

Canticum Novum choir concert performed at the UNT College of Music Recital Hall.

Recording of Jean Piche's Cyber-Cerbère. This work is for electronics and electro-acoustic technique.

Recording of Philippe Blachard's L'Enfer est un petit début ou "la messe des pauvres" (requiem électroacoustique). Rabelais adored nothing so much as liberty and it therefore takes this anniversary to be remembered a little. The sound sources include Rabelaisian quotations and the five parts of a traditional mass, the selected texts being superimposed on a string of adulterated sounds. The sounds consists of many variety, such as, everyday sound object, voice, and synthetic sounds; which provide many musical dialogue.

Recording of Francis Dhomont's Forêt profonde. This work is an acousmatic melodrama, based on Bruno Bettelheim's essay The Uses of Enchantment, of which this is the third version. Forêt profonde comprises 13 sections, of which the 6 Rooms (sections 1, 3, 6, 8, 10 and 12) constitute transit periods/areas, secret passages of sort, between the seven thematic sections (sections 2, 4,5, 7, 9, 11 and 13). These Rooms contain little or no text. Each of the 13 sections borrows a brief element, a color, an atmosphere, from the 13 Kinderszenen (Scenes from Childhood) op. 15 from Schumann, as a tribute to this pathetic composer, engulfed in the depth of his forest.

Recording of Annette Vande Gorne's Le Ginkgo. This electroacoustic composition is a narrated work with a significant amount of low voice audio in French. It is described and expanded upon in the following words (translated from original French text): A man walks to meet himself...: From the secure and unequivocal void of eternity without future to the proliferation of passionate, ephemeral life, with an uncertain future, except that its swirling column will m 'carries irresistibly towards a love'. The Poet takes us on an inner journey, that of a lifetime, in which each of us can situate ourselves, recognize ourselves, identify with the narrator. Narrative, linear and structured, seems to be an ideal form for this progression of being. I therefore extracted from the original short story the key phrases of each stage of the journey, and took, in order to preserve its linear character, the party of simple reading, monotone at the beginning and going by becoming animated. The musical form is derived from the words and the structure of the text along three axes: That of time which, long non-existent, fixed, outside of man, gives itself a "hic et nunc", then a past and a future, and accelerates, …

Pair of heeled pumps of brown floral damask. Pointed toes, 5 self-covered buttons across vamp. Metallic gold lining. 3" heels. Stamped in both shoes: "René Mancini / Paris" Stamped on sole of both shoes: "Fab En France / [pictograms for leather] / No 4075 / 37 / 1/2"

Recording of Philippe Blanchard's Katastrophe. This work uses field recording of nature and animal sounds, voice, electronic and acoustic instruments, and pre-recorded sound. There is a big emphasis within musical transition, which at times is silence. The use of electronic technique also allows for musical space and sound travel.

Recording of Philippe Blanchard's A La bataille. This piece is for electronics. This work has sounds from electronically manipulated voice, pre-recorded fragments, and synthetically built sounds.

Recording of Yves Potvin's Liguits rom. This work is for voice and electronics.

Recording of Elizabeth Anderson's Mimoyecques. The piece consists of two sets of recordings and electronics. One set of recordings would be made in and around the fortress and would serve as the base where the imprisonment, death, and transfiguration themes would be built. The second recording is in the languages of the 18 nationalities of the laborers. The central section of the work illustrates the idea of terror freedom is suddenly, inexplicably removed. The final section explores the concept of the departure of the souls of the victims.

Recording of Eric Mulard's Le miroir à salade. In the manner of Russian dolls, the Salad Mirror plays around obsessive and ultimately comical interlockings between audio stories from everyday life, including the meaning and sound of the words that structure it, are intertwined. The Salad Mirror is this time of listening during which the sound and the meaning of situations and words are as if in a state of weightlessness, without it being known in the end which of the two is anticipating on the other.

Recording of Georg Katzer's L'Oracle de la Dive Bouteiller. This work is for actors and tapes. The nonsense lyrics are taken from the wonderful "Gargantua and Pantagruel" by Rabelais. There is a very important use of space, the sounds are at times isolated to where you may hear two different sounds on both sides, instead of predominantly in the center of the stereo system.

Recording of Philippe Ménard's Rep-à-quatre. This piece is inspired by François Rabelais and his satire, grotesque, and bawdy jokes and songs. On a technical level, most of the sound material comes from samples of the texts (ASR 10 sampler) and the musical organization is managed by the MAX software, my improvising assistant.