Recording of Mathew Adkins' Clothed in the Soft Horizon. The work presents a communitive interaction between electronically built sounds and the original unprocessed sounds, which are modelled after water droplets and the motion of a wave that builds, crashes, and breaks. This use of processed and unprocessed sound is the overall bas of the work and also the Spectro morphological design of many of the individual sounds. Overall, the work is both a physical representation of the flow and motion of the water and a personal response to it.

Recording of Mathew Adkin's Melt. Melt is the description of a train journey. The work is based on the mediation between: regular movement and impulse, and raw sounds or computerized sounds. The basis of the work is live recordings of trains, metro announcements, crowds, synthesized sounds with characteristics of natural sources, and synthesized sounds. Throughout the work, the sounds of the real world mix with the synthetic equivalents of the dream world, like a traveler falling back in and out of a dream day.

Recording of Jan Pascal Alagna's C'est en forgeant. Sound allegory around the forge, fire, and the transformation of energy, of acoustic exploration of the last forge still in activity in Marseille. Based on the recording of sounds from the forest of pastre, an allegoric journey is offered where the various stages of transformation of metal, water and fire are presented. Other sound's include the Kalevala, Greece index, Gamelan, etc. These instruments represent the historical tradition enlightened by the myth of the blacksmith.

Recording of Antonio Alcazar Aranda's Transformaciones. The work has four parts. In Cristaux et noix; timbre evolutions of the material occur along its duration. Lethanie has minimal changes between melodic cells and small dislocations rhythms, which bring slow transformation. In Ondes rigides. certain flows and reflux are presented through rhythmic compressions and expansions united to a gradual opening in the pitch field. Finally, Dilatation, is a very slow evolutionary model which, accommodates itself to an ever wider sound space.

Recording of Maria Francesca Ancarola Saavedra's Eolico 2. This work is for electronically processed voice and electronics.

Recording of Patrick Ascione's Suite blanche pour les temps nouveaux. THis work is for electronic and computer sound. This work uses electronic and heavily processed sound to create a dense musical texture, the sounds are delivered in fragments. When the sound texture changes in a quick sense bringing new sounds into the work, this work has both transparent and harsher sound providing sonic variety.

Recording of Ron Averill's This is the sound of my dreams. Work for percussion, flute, and electronics. This work emphasizes communication between flute and percussion, while exploring differing sound textures with electronic processing and sounds.

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

Recording of Alain Basso's Acetone. It was created essentially from sounds representative of landscapes and festivities in Haute-Savoie, this piece explores the limits of the possibilities of sound mutation. The idea is to exaggerate certain acoustic characteristics, to better control the expressiveness of these sound objects, but without losing their original nature. Thus, the listener is projected into a lyrical world, while measuring the gap that separates him from real sources that can often be identified.

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

Recording of Daniel Bernstein's Golem. This work is for string quartet and electronics.

Recording of Charles Bestor's Conversations with myself. For clarinet and interactive electronics.

Painting of white, beige and black near abstract circle and oval shapes scattered throughout.

Recording of Lars Gunnar Bodin's Best wishes from the lilac grove. For electronics. In Swedish it means a rather tiny grove, more like an outdoor room (without a roof) where the lilac shrubbery form the walls. The intention of this piece is to radiate something of the same relaxed feeling and contemplation you may experience when visiting such a room.

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

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

Recording of Francesco Boschetto's Trasumanar. This piece is in four short movements and is dedicated to, poet and filmmaker, Pier Paolo Pasolini. There are string instruments, synthetic sounds, and pre-recorded sound (both unprocessed and processed sound).

Recording of Christopher Brady's Hiddent Chambers. This work is a soundscape which has an acoustic sound that helps to covey a sense of space and is structurally consistent.

Recording of Christopher Brady's In the absence of the sacred. This work is for pre-recorded manipulated sound.

Recording of Christopher Brady's North sanpete. This work utilizes a wide variety of sound sources which are unprocessed or have been electronically altered and organizes them together in a balanced manner. There are radio samples, field nature recordings, voice recording, acoustic instruments, everyday inanimate objects, and synthetic or electronically processed sounds.

Recording of Christopher Brady's Squamish. This work was made by manipulating a wide variety of sound sources.

Recording of Roberto Brandwayn's Passacaglia de la gran ciudad. This work makes use of the Passacaglia, a form which uses a constantly repeating melodic line as a structural basis. In the "Grand City Passacaglia", a series of 9 sounds, including silence, is exposed to the listener. This series inaugurates a repeating cycle, on which will develop variations and create new textures; that gradually make it indecipherable and lead it to chaos. For the technical realization, alterations of the waves created with a synthesizer, voice recording, and samplers are used.

Recording of Gabriel Brnčić's ...Que no desorganitza cap murmuri... Music is the sound of society. Murmuring or organized noise and that's music: a gathering of what is external and distant in the instant vision; the unusual listening. The work of a flautist or a composer can no longer be explained with the geometric arrogance of other years. They would explain themselves, perhaps if we understood them as a bit of life poured into the disposition of the concert. Then, everything will have been a memory of a sensation - auditory error, lost between the unattainable, the assumed and the calculated scan - of sounds.

Recording of George Skip Brunner's Women in black. For electronics, manipulated voice, and violin.