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 José Halac's El espejo de los viejos. For violin, computer, and tape. Based on the same tape material the composer used previously with UITOTOS, sincretismo #2 but now with a score for violin. The term syncretism refers to, as Horacio Vaggione has described it in his notes for the composer's piece BALL, sincretismo #4, the merging of things together with the morphology of a continuity which is articulated in different levels or may not be articulated from the compositional process but from the listening process, an operational process that is different for each listener according to many factors.

Recording of Simon Hall's Hit me! The main body of the piece is in two sections. The first is based on stretched and transpositions of the number of vocal and instrumental gestures, and the second is intentionally more abstract and less obviously derived from the source material. These sound materials derive from James Brown song samples. Then, the samples are developed using a variety of digital techniques to create an electroacoustic sound environment.

Recording of Simon Hall's Taking the Gliss... This work is for bass trombone, tape, and live electronics. The intention of this piece for bass trombone is to explore some of the different kinds of possible glissandos and the role electronics can play. The tape part is exclusively from brass and vocal sounds, which are electronically manipulated using a range of analogue and digital techniques. Yet most of the piece focuses on the instrumental domain through out the piece.

Recording of Simon Hall's Fiestudy. Fiestudy was composed for two reasons - one practical, one musical. In 1992, the composer bought a 12-year-old Ford Fiesta. The car itself was cheap, but over the course of the next 18 months, it cost the composer thousands of pounds in repairs and towing bills. Simon Hall then became determined to reap some reward for the large, apparently worthless financial investment, and the opportunity of utilizing some of the strange noises this condemned vehicle made seemed to be a good one. A recording session under the bonnet and a whole host of aural possibilities suddenly became apparent. The composer's second reason for the composition of this piece was my intention of putting together a musical argument between two contrasting types of material: persistent, driving rhythmic ideas; and material that existed for its texture - its sonic content. There is, inevitably, a degree of overlap between these two types of material, classification of materials as "rhythm based" or "texture based" often being deliberately ambiguous - the textures grow from the rhythms and vice-versa.

A faculty and guest artist 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 Jeffrey Hass' Liaisons. This piece uses traditional electronic technique and creates a futuristic sounding musical space.

Recording of Kim Hedas' Good morning love, it's springtime in my heart! Although this piece's may give off a certain idea to the sound environment you would expect, the piece is harsh, contains unsettling sound, and unpredictable sound direction. With a very specific sound quality this piece explores the harmonies and the characteristics of metallic objects, sounds, or instruments.

Recording of Rubén Hinojosa Chapel's ET llamando a casa. This work is a simple tonal electronic piece composer with the musical fractals system, which is an interpretation of the Koch curve and the self-similarity property of fractal sets. The algorithm features transformations from traditional counterpoint and simpler intervals. For the synthesis of the phone sound, temporal synthesis of sound waves coming from mathematical formulae is used.

Recording of Elizabeth Hoffman's Tesserae. This work is for stereo and computer generated sounds. This work emerged from numerous mosaic-like bits, resulting from experimentation. Techniques include frequency modulation, additive synthesis, filtering, and linear predictive coding. Many of the elements heard in this piece are reminiscent of natural sounds because of such techniques. The sound sources include spoken words and purring noises--the latter used at times as a filter excitation source.

Recording of Hans Ulrich Humpert's Construction in micropolygons.

Recording of Manuel Rocha Iturbide's SL-9. For digital tape. Sl-9 is named after the comet that hit Jupiter in 1994. This piece was made with granular synthesis techniques, with Barry Truax's granular synthesis system (The DSP DMX-1000 controlled by a PDP Micro 11). The samples used for the time granulation were popping sounds of fire, drops of water, and the ocean. The idea was to make a programmatic piece where a comet hits a planet, and brings to it water, an element which will probably bring life to it.

Recording of Manuel Rocha Iturbide's Transiciones de fase. This works is for brass quartet and computer. The intention of this composition is to explore the timbre possibilities of brass instruments, and to present in the piece different states of sound, as a natural element. The electronic sounds, were mixed beforehand, but there is live electronics (IRCAM next station). One part of the sounds processed in the studio were treated with a vocoder, using stretching and cross synthesis. The other sounds were created by analysis and re-synthesis of brass samples, using the IRCAM program or granular synthesis. In the DSP control parameters reverb with filtering, harmonizer, two spatialized delay patches, and random algorithms are used. All events are triggered by the performers with 4 midi pedals.

Recording of Jean-Marc Weber's El Fuego. This work is for electronics. This work uses aeolian mouth sound and electronically-made sounds to create an evolving work. It uses time repetitive motifs which begin to fade in and out, leading to the work abrupt ending.

Recording of Wilfried Jentzsch's Kyoto Bells. This work was commissioned to mark the 1200th anniversary of the founding of the city of Kyoto and premiered there in 1994. The sound material is based on four bells of different sizes which the composer had brought with them on their first returning trip to Japan in 1993.

Recording of Elsa Justel's Feuillage de silence. The composer dedicates this work to his father who helped inspire the concept behind the piece. The composer compares the job of a musician to that of a gardener when honing their craft, by experimenting and manipulating nature in a non-destructive way in search of something beautiful.

Recording of Michael Kapoulas' Pianolia. This work is a study in the extreme placement and movement of elements of the sound in the stereo field. Sound originating from a piano where the sampled and processed through analog and digital equipment. The final version was programmed on a Macintosh computer and mixed with partial automation using the time stretch-invert technique created by the composer.

Recording of Erik Mikael Karlsson's Interiors and Interplays. This composition is intended to be a portrait of a friend on the double bass or even a musical portrait of the composer. The composer also musical represent problems such as: aggression, violence and resignation play an equally important role at the same time. The starting point material is double bass with Pizziccato, vocals, real and synthetic sounds.

Recording of John Kefala-Kerr's Martian karaoké. This composition is a conglomeration of styles, especially utilizing different types of drumset beats and styles to accentuate other aspects of the composition.

Recording of William Kleinsasser's Free Shadows. This work projects the idea of virtuosic performance integrated technological rendition and augmentation. The computer music is made up of sounds from the piano with both conventional and extended technique. The synchronization of live performance with computer music utilizes a system that allows for the computer to track the performance of the Disklavier. A Max patch has been designed which tracks the Disklavier performer's progress through the score. This progress triggers events from a cue list. This technique has emerged as a practical way of synchronizing digital music with live performance.

Recording of Vladimir Komarov's Genesis. This work is for electronics and synthesized sounds.

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