Recording of Elio Martusciello's Proiezioni. This work is described by the composer as a musical tribute to cinema; it is an integral part of an audiovisual project with the film and video research collective "Cane Capovolto" by A. Aiello. This project uses as sole sound and visual source only those instruments and objects (projectors, cameras, reels, etc.) which are related to Cinematographic Art. Concerning the musical part, these old instruments (with their noisy metallic mechanisms and the light sound of long films) offer the composer a rich palette of colors and evocative sonorities.

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 Ragnar Grippe's Le mécanicien effréné. Voices are explicitly mentioned by the composer as acting as instruments; no language is intended or represented in this performance. This piece follows the composer's "symphonic" approach to timbre and construction of sound, wherein every sound is a composite of several included timbres, in a way that the composer identifies as being specifically contrary to the technique known as Musique Concrète of Groupe de Recherches Musicales in Paris. Through this approach, short moments of a more musique concrète character interrupt the ongoing flow of the composition; furthermore, the composer states the explicit nature of voice as instrument, removal from semantics, and a fascination with the "nakedness" of voices alongside their behaviors and interactions when set upon a texture of electroacoustic sounds.

Recording of Peter Manning's The ghost of Eriboll. This programmatic work is a commentary on our natural environment and the urgent need to preserve the increasingly fragile ecology of so many hitherto unspoilt regions for the benefit of future generations. Loch Eriboll is to be found on the north coast of Scotland, creating an inlet which cuts deep into the countryside of Sutherland, an area of outstanding natural beauty, characterised by rich fishing grounds, rising mountains and tracts of wild moor land, from which and upon which small groups of fishermen and crofters have sought to maintain an existence in circumstances which have often been harsh and inhospitable. As the years have gone by so this way of life has come under threat with increasing industrialisation around the coast from the east, for example the nuclear power station built at Dounreay and numerous installations to support the North Sea oil industry. This piece is a soundscape, which reflects upon the survival of these communities down the ages and the uncertainty, which faces those who remain. All the source material is drawn from the archives of the World Soundscape Project at Simon Fraser University, British Columbia. The transformations of these aural …

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.

Recording of Mike Vaughan's Mélodie.

Recording of Simo Lazarov's Deeply, deeply.

Recording of Ton Bruynel's Brouillard.

Recording of Augusto Valente's Dwamb.

Recording of Nye Parry's Grand Junction. Grand Junction uses recordings of steam pumping engines from the Kew Bridge Steam Museum in rhythmic interplay, exploring the contrast between recognizable and abstracted sound.

Recording of Jøran Rudi's Moment. This work is composed of synthetic and natural sound, transposed and stretched according to ratios taken from spectral data found in a bell-timbre. In addition, the voice element is treated to create time-variable harmonicity. The artifacts from the stretching have been brought forward in the composition through filtering. The synthetic sound consists of an algorithmically composed element, where a series of numbers control the same parameters in the synthesis. The algorithm scales the numbers to strengthen the low end of the register. The composer describes "Moment" as a slowly developing little piece, composed to be candy for the ear.

Recording of Franco Degrassi's Mostar.

Recording of Yee On Lo's Naissance.

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

Percussion concert performed in the UNT College of Music Recital Hall and Commons.

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

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

Student recital presented at the UNT College of Music Recital Hall.

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.

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.

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.