Recording of the Friday evening performance of "Opera Without Elephants" at the UNT College of Music Concert Hall.

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

UNT A Cappella Choir concert presented at the UNT College of Music Concert Hall.

UNT Chamber Orchestra and Symphony Orchestra (Winners of the UNT Concerto Competition; Student Conductors) concert presented at the UNT College of Music Concert Hall.

Recording of Luigi Ceccarelli's Aracne. This work is based off of a text by Guido Barbieri and was written as a radio play. This piece was produced and created in Rome at the CRM - Centro Ricerche Musicali and at Edison Studio. It was staged for the first time at the Roman Aquarium in June 1996.

Recording of Patrick Portella's Caterina. This is a work for electronics that is meant to represent sensuality as well as the violence of sound. It premiered at the Futura 96 ​​Festival in Crest.

Recording of Johannes S. Sistermanns' I hear you think. This work consists of various concrete sounds as well as spoken text written by Hazrat Inayat Khan.

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Recording of Gianantonio Patella's Radio-Vaggio. This work uses radio gragments that are modified in many ways with ring modulation, filtering, and the changing of time waveforms with tabular synthesis. The Karplus-Strong synthesis technique was used.

Recording of Riccardo Dapelo's I suoni che distilli. Derived from the poetry of Eugenio Montale (specifically, "Resta lontano...") and utilizes high voice readings of poetry alongside sung portions in overlapping and edited forms. The text of the poetry was initially read - with only sparse, significant words being sung - by the soprano Daniela Aimale. Like the title "I suoni che distilli" (translated as "the sounds that you distill") explains, the attempt of this composition is to extract the essence, the pure sound of poetic language. This composition utilizes different techniques of processing the human voice including spectral and dynamic granulations, and vocoder; also utilized are mimetic and synthetic sounds, variously interpolated with voice grains (some original Csound instruments for morphing and granular synthesis). To obtain a sensation of movement between foreground/background the piece was developed in different levels, each with its own dynamic grade of reverberation and/or volume, laid one upon the other. The piece is dedicated to Alvise Vidolin.

Recording of Ipke Starke's Die Unsichtbare front. The composer notes the following: The spatial installation of this work was designed and realized for the highest space in the building of the Technical Collections of the city of Dresden. This place just below the dome of the tower with its exceptional view of the city and the nearby radio tower is part of the work. The composition itself consists of 16 minutes of music on magnetic tape, constantly looped, spatialized and broadcast through the 7 loudspeakers configured in the space. The piece is based on modulations of extremely high frequencies, up to the limits of the audible, whose dynamic degree barely reaches the threshold of perception. What is significant vis-à-vis the content of the play is their interruption by documentary material: news in different languages, interviews, recordings of demonstrations, reports and documents from the archives, and synthetically generated or processed sounds of associative character. This confrontation of situational elements with documentary elements generates contradictory tensions in space. The architectural form of this one is also substantial: first of all, the space is presented in a neutral way, not done on purpose for pleasure. The exposed location of the dome provides openness, …