Recording of Roland Cahen's Rappel à l'ordre. This is a work for electronics and includes the story of a deep-sea diver spoken in both English and French.

Recording of Guto Caminhoto's Monólogo (Version 2). Monólogo was composed using computer synthesized sounds and natural sounds. The main sound material prepared for this piece is the voice - words spoken and recorded by the composer, and computer synthesized voices with Csound’s FOF unit generator. Other sounds are bells, stones, wood and some more synthesized sounds. It was premiered on June, 13, 1996 at State University of Londrina, Brazil.

Recording of Bruno Capelle's Poème sphérique. This work uses the manipulation of a sound throughout the work's duration.

Recording of Mauro Cardi's Manao tupapau. For flute (piccolo, flute in G), percussions and tape has been composed during the autumn 1996. The painting Manao Tupapau by Gauguin, represents a perfect fusion of music and literature, composition and symbol. It was painted in 1892, during the happy months the painter lived in the Mataiea's cabin with his young Tahitian wife Tehura, immortalized in this, as in other paintings and in one sculpture. These the references to the Gauguin's work, of which the composer's work don't want to be a musical transposition, neither a realization of the musical references that Gauguin notes in the description to his painting.

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 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 Carlos Cerana's El Poder de lo invisible. For electronic and pre-recorded sound. This work contains many bell-like tones and differing electronic techniques.

Recording of Gustavo Chab's Improvisacion 2. For flutes, voice, and processed sound.

Recording of Chin-Chin Chen's Points of departure. For vibraphone and tape, realized using Ensoniq SQ-2, SQ-R, and YAMAHA TX81Z. This work maintains the identity of the soloist vibraphone, and creates the ambiguity between the live vibe and the ghost vibe to some degree in some sections. The whole piece is clearly divided into 6 sections. The live vibe sometimes stands in the limelight (cadenza) and sometimes merges into the tape.

Recording of Bruno de Chénerilles' Etude No. 1. Selected at the International Electronic Music Competition of Bourges 1996. All sounds come from an electric guitar played on the table; part of this sound material was then sampled, edited, transformed, shaped and replayed on the keyboard on a digital sampler. 2 versions exist: The first is fixed on support in stereo. it can be played as fixed sound music and this version has been released on the Move Sweet Move DVD (Audiorama - 2005 - for sale at www.audiorama.org). The second is a concert version played live on the sampler keyboard.

Recording of Alessandro Cipriani's Aqua Sapientiae/Angelus Domini. This is the 5.00 short tape version. For electronics, pre-recorded sound, and manipulated voice and Gregorian chant.

Faculty 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.

Recording of John Michael Clarke's Tim(br)e. For electronics and processed pre-recorded sound.

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

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

Recording of Darren Copeland's Life unseen. This is a short piece from an hour long radiophonic work entitled "Life Unseen". The text and vocals are by Alex Bulmer. Alex is a writer and actor from Toronto (Canada) who has lost most of her vision over the past ten years. "Elegy" is a celebration of experiences which are no longer accessible to Alex. The many plays of light, shape, and nuance that once consumed are recollected and cherished in both the text and sound composition.

Recording of John Edward Cousins' Songs for the little lady.

Recording of John Edward Cousin's Ssaufhapt. For electronics. The title of this work embodies a quote from the book "Art and Illusion" by EH Gombrich. While writing of the role of culturally inured expectations on the way we gain meaning from an art object. Engrossed in what Boulez called "The unpredictable periplus" of the creative task, it can sometimes feel as if the work already exists in some dim, pre-formed state and all that the composer need to do is to bring it fully into the light.

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