Recording of Mathew Adkin's Pagan Circus. For electronics, manipulated voice, and pre-recorded sound. This work is based upon two sources: the poem Pagan Circus by Rose Dodd and the circus paintings of Frantisek Tichy (1896-1961).

Recording of Mihail Afanasiev's The Circle of Existence. This is an opening of the new way of the author's expression. The syntheses of instrumental and studio thinking and the use of synthetic instruments. The fragment of the quartette of the composer V.Belyaev, with whom the composer studied with in conservatory, is used in composition.

Recording of Judith Akoschky's Mural. This piece gives homage to Pierre Schaeffer. The "Sound Paintings" are works of Evocación Sonoras that the composer has created with children and with teachers; the sounds are produced with everyday objects that called "Cotidiafonos".

Recording of David Alarcon's Oublier Pierre. This is a work for electronics.

Lecture given Tuesday, June 18, 1996 at Abilene Christian University

Recording of Antonio Alcazar Aranda's Materia: Piedras. The starting point for its realization is twofold. On the one hand, unique sound material is produced by the collision of two stones; on the other hand the composer took from number three and four as computer nuclei or speech generator, a decision that will have implications as much at micro level as structural macro. From the point of view of crossing, the work offers a certain minimalist treatment of material: repetitions of series which contain something new but which also retain part of the previous one. Change and permanence.

Ensemble concert performed at the UNT College of Music Organ Recital Hall.

Recording of Joseph Lloyd Anderson's ChAnGE'S Music. A translation of the composer's words, from a letter to pianist Hadley McCarroll, illuminate that the composer tends "to think of ChanG E S Music as a phonographic fantasy because it plays out in each of Dellaria's three sound recording modes: Record-as-Document, Pseudo-Document, and abstraction. In order to really begin to understand him, I believe the listener needs to have an idea of ​​who [composer John] Cage is and why he is interesting. It is also useful to be aware of the Music of Changes, since the version edited by Wergo is the pseudo document with which my piece begins, and it constitutes one of the first 'silent' pieces of Cage (with 4'33''). It is about the need for the composer's ego to step aside before the music so that it can speak clearly. The pseudo document is fun because it allows us to make someone play what has never been played, and say what has never been said, while passing it off as a kind of auditory truth. Cage's opening text where he puts forward the beginnings of all this using recordings as instruments is actually taken from a statement explaining why …

Recital presented at the UNT College of Music Concert Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recording of Nicolay Apollyon's CellOrganics. For Cello and ISPW. This work uses the timbre of the solo cello extended through computer signal processing and synthesis. The instrument generates the electronic sounds in real time under the soloist's direct control, offering a wide range of sonic possibilities. The signal processing and synthesis include live sampling, real-time granulation and spatialization. The computer tracks the pitch and amplitude envelopes of the input signal of the cello.

Recording of Ron Averill's Aes * Aurichalcum * Galmei. For electronics and pre-recorded manipulated sound.

Recording of Ron Averill's Nature morte: enshare entangled emerge. This work uses sound material from field recordings and synthetic sound.

"Senza Voci 3" finishes the series "Senza Voci", three works that over the years have been made with various techniques, but which maintain unaltered some basic characteristics concerning the sound material and musical thought related to it. Especially, "Senza Voci 3" was realized at the CSC of the University of Padua, with the help of Sylviane Sapir on the real-time system that uses Giuseppe Di Giugno's 4I processor, controlled by a PDP 11 computer. The synthesis method is the amplitude modulation and the sound material is borrowed from the previous works: four sets of frequencies which from low to high, are called Alpha, Beta, Gamma, Delta. The relations of several degrees that take place between these sets define the articulation of the piece through a path traveled several times which goes from the individualization of single moving sound blocks to complex fusion. So this "Senza Voci is linked to the dominance of a guide set. If "Senza Voci 1", the guide set was Beta (in the middle register), "Senza Voci 2" Alpha (the most serious), the last "Senza Voci" are the Gamma and Delta sets that come to form the line important part of the speech. Another peculiarity: the extreme …

The National Museum of the Pacific War presents an oral interview with Jean Balch. Balch was born in Abilene, Texas and was attending Hardin-Simmons University in 1941. On 8 December, he volunteered for duty in the Navy, but was too young. He joined later that spring. He trained as a radioman and gunner before being assigned the USS Yorktown (CV-10) in the fall of 1944. Balch mentions striking targets in the Philippines and on Formosa in late 1944. On one bombing mission over Hong Kong, China, the plane Balch was in was hit, forcing him to bail out. He landed among some Chinese civilians. In a short time, Balch was captured by Japanese soldiers. After several days, he was transported to Ofuna. Balch recalls several anecdotes about life as a prisoner of war in Japan. He mentions other POWs and tells stories about various guards. When the war ended, Balch was placed aboard the hospital ship USS Benevolence (AH-13). After the war, Balch returned to Tokyo to testify at the war crime trials.

Lecture given Tuesday, June 18, 1996 at Abilene Christian University

Lecture given Tuesday, June 18, 1996 at Abilene Christian University

Lecture given Tuesday, June 18, 1996 at Abilene Christian University

Lecture given Tuesday, June 18, 1996 at Abilene Christian University

Recording of Natasha Barrett's Earth Haze. This work journeys through a landscape of dissolving images and events, breaking open enclosed sound-worlds to reveal huge spaces filled with wraith-like figures. It attempts to fuse musical and extra-musical properties of the sound through drawing on the interaction of physical objects, people and the surrounding world.

Recording of Natasha Barrett's Racing unseen. Racing unseen is an acousmatic composition in two movements: "Movement one: Racing Wide" and "Movement two: Racing Inside." Text accompanying this piece is as follows: "Racing through, Racing amongst, Into new spaces, Away from old emotions, Racing high, racing low, to escape, to seek, racing into the eddy... racing forever... racing unseen."

Recording of Peter Batchelor's Velocity. Assorted ideas concerning outdoor, spatial environments crystallized into the concept of velocity from which this work evolved. The piece involves an exploration of the ways in which speed might be implied entirely through the use of sound, both real and 'unreal', and placed within a context that allows it free reign as a musical device. Cinematic elements suggesting movement have thus been combined with gestures and textures of varying energy and complexity the electroacoustic medium permitting fluid interaction between the two.

Recording of Bret Battey's Distance, Dance, Discern. This work began with a recording session where the bassoon uses a wide range of sounds and timbres that can be performed on the instrument, including key clicks, tongue-pops, reed crows, and multiphonics. Excerpts from this recording provided the basis for many of the sounds heard in the pre-recorded, computer-generated portion. A conceptual focus for the creation of the piece was the psychology of consciousness and desire. The three words of the title correspond to the three major sections of the piece.

Recording of Enrique Belloc's PoPierre. This work is for manipulated voice and electronics. Surrounding sounds, onomatopoeia, fragments of conventional music are combined to create a sound space which become musical poem.

Recording of Jean-Louis Belmonte's Angel. This work uses traditional electronic techniques to change pre-recorded sounds to create a soundscape. The metallic ring sound is a continuous sound throughout the work, therefore the listener becomes familiar and begins to draw attention to the sounds changing outside of this familiar sound. Yet, there are still moments with the attention is brought back tot he metallic sound and a brand new collection of sounds and environment is introduced.