Recording of Paul Geladi's 5 Cookie jars and a broomstick. The piece is based on percussive sound. These come from 5 cookie jars and a broken aluminum broomstick found in a garbage container. All the sound were recorded with a SONY ECM 979 stereo microphone.

Recording of Agostino Di Scipio's 5 Piccoli Ritmi. For tape music with computer-processed guitar sounds and voice. This work divided into 5 short section, each announced by Spanish voice. The text being read is from a poem by H. Maturana. The sounds are derived from mixing and processing concrete sounds. The processing techniques includes an interactively operated method of real-time recursive granulation and time-shifting. Feedback controls were utilized, so that amplitude and density of the output sound affect the time shift ratio and the pitch in the algorithms.

Audio cassette from The Black Academy of Arts and Letters recorded during the 13th annual Black Music and the Civil Rights Movement Concert on January 14th, 1996 at the Meyerson Symphony Center. The tape records the 200- voice choir accompanied by featured gospel vocalist Tramaine Hawkins. The concert serves as a tribute to Martin Luther King Jr. and Phyllis Hyman.

Audio cassette from The Black Academy of Arts and Letters recorded during the 13th annual Black Music and the Civil Rights Movement Concert on January 14th, 1996 at the Meyerson Symphony Center. The tape features two clips of audio including a large 200- voice choir accompanied by featured gospel vocalist Tramaine Hawkins.

Audio cassette from The Black Academy of Arts and Letters recorded during the 13th annual Black Music and the Civil Rights Movement Concert on January 14th, 1996 at the Meyerson Symphony Center. The tape features one clip of audio including a the opening remarks of the concert followed by performance of a large 200- voice choir accompanied by featured gospel vocalist Tramaine Hawkins.

Audio cassette from The Black Academy of Arts and Letters recorded during the 13th annual Black Music and the Civil Rights Movement Concert on January 14th, 1996 at the Meyerson Symphony Center. The tape records the 200- voice choir accompanied by featured gospel vocalist Tramaine Hawkins. The concert serves as a tribute to Martin Luther King Jr. and Phyllis Hyman.

Recording of Ioannis Kalantzis' 3b. The composer used the bassoon in a rather post-classical way. The composer also used characteristics, which functions as a point of reference, by replacing a melodic subject with a single minor 3rd interval. Furthermore, the sentimental content that an interval expresses was explored. Such as, a minor 3rd (with a grace note-pattern), while giving different colorings around the content of this interval. The electroacoustic material comes entirely from bassoon sounds.

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

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

Recording of Frédéric Kahn's Ainsi s'acheva le rêve, ainsi je raconte. Work made for electronics.

Recording of Rajmil Fischman's Alma latina. The composer has this to say on the background of the piece, and of this piece itself: Time is a strange background against which our lives develop. Linearity is usually out of the question and memory cunningly warps and re-invents our past experience to such an extent that the latter becomes alive, threading between past and future. It has been forty years since my personal thread started, more than twenty since I left the birthplace and a long time since my last visit. During all this span - especially after leaving and finding other homes - the conglomeration of conscious and subconscious moments bubbled out, combined with new experiences and created labyrinthine inner passages in which sounds, images, smells and other sensations from different periods mixed and evolved into new forms. Music which was previously dismissed and undervalued suddenly acquired a new significance. Strong images of pain and joy amidst the contrasting richness and poverty of a South American city became representative of a historico-political situation. Taste and scent of food, combined with the physical sensation of dance movement, turned into cornerstones of thought about the essence of human condition. All of these are …

Recording of Bor Turel's Amarcord - Chilhood (l'enfance). This piece is the third movement of the work "Amarcord" that the composer describes as a trilogy of sonorous memories. This work was conceived as a combination of electronic, electroacoustic, and ambient instrumental recordings that were all produced in the years from 1976 to 1996.

Recording of Bor Turel's Amarcord - Dreams (les rêves). This piece is the second movement of the work "Amarcord" that the composer describes as a trilogy of sonorous memories. This work was conceived as a combination of electronic, electroacoustic, and ambient instrumental recordings that were all produced in the years from 1976 to 1996.

Recording of Bor Turel's Amarcord - Golden age (l'age d'or). This piece is the first movement of the work "Amarcord" that the composer describes as a trilogy of sonorous memories. This work was conceived as a combination of electronic, electroacoustic, and ambient instrumental recordings that were all produced in the years from 1976 to 1996.

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

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.

Recording of Daping Qin's Aniox. A fantasy surrounding the theme of animal voices, Aniox is an exploration of the musique concrete bridge between music and noise. Four animal voices are treated as instruments: sad cock, cheerful dogs, innocent birds and angry lions. The main role is played by the roster. The work falls into two sections. The first section develops from the statement of the rooster's plaintive whine to an innocent birdsong and gradually changes to a deep sigh. After a brief pause, the opening drumbeat recapitulated to lead the same material through rhythmic variation toward the second section's climax, led by the lion's angry howl.

Teodoro Pedro Cromberg's Añoranza de lo Dionisíaco. The title references to the importance of sensorial experience (dionis’aco) in concrete music creation, opposite to the microcomposition in the land of sonora synthesis, that is more rational (apol’neo). In this way, both working modes are contraposed all over the piece, though clearly limited sections with short silences or for the clear identity of different sonorous-musical materials. The last section highlights the characteristic motives of the piece in textual or variegated mode.