Audio cassette from The Black Academy of Arts and Letters recorded during the 14th Annual Black Music and the Civil Rights Movement Concert, Musical Reflection- 20 Years Later...A Spiritual Jubilee. The tape includes choral singers and was recorded at the Meyerson Symphony Center.

Audio cassette from The Black Academy of Arts and Letters recorded during the 4th annual Christmas and Kwanzaa celebration concert on December 13th, 1997. The tape includes two tracks of audio recorded from the performance. The audio is not entirely clear as if recorded from far away.

Audio cassette from The Black Academy of Arts and Letters recorded during the 4th annual Christmas and Kwanzaa celebration concert on December 13th, 1997. The tape includes two tracks of audio recorded from the performance. The audio is well recorded.

Audio cassette from The Black Academy of Arts and Letters recorded during the 4th annual Christmas and Kwanzaa celebration concert on December 13th, 1997. The tape includes one track of well recorded audio of Curtis King giving closing remarks and honoring individual students.

Recording of Mara Helmuth's Abandoned Lake in Maine. This work's compositional process uses technology to return the listener closer to nature, and into new relationships with nature. The composer's software, instruments, and algorithmic programs were used to create much of the material. The sources for this piece are recorded sounds of the loon in its environment and a naturalist's voice. This work uses field recordings of Maine.

Recording of Jongwoo Yim's Absorption. This work includes instrumental sounds as well as electronic sounds (both from tape and live electronics). The clarinet line is a spotlight and eventually gets pulled into the harmonies of the other parts.

Lecture given Tuesday, February 18, 1997, 12:00 PM at Abilene Christian University

Lecture given Tuesday, February 18, 1997, 2:00 PM at Abilene Christian University: "Hear three in-training ACU ministry students preparing for evangelism through proclamation of the Gospel. Encourage these young men of faith by singing, prayers and listening to their Christ-filled messages."

Lecture given Monday, February 17, 1997, 2:00 PM at Abilene Christian University: "Hear three in-training ACU ministry students preparing for evangelism through proclamation of the Gospel. Encourage these young men of faith by singing, prayers and listening to their Christ-filled messages."

Lecture given Wednesday, February 19, 1997, 2:00 PM at Abilene Christian University: "Hear three in-training ACU ministry students preparing for evangelism through proclamation of the Gospel. Encourage these young men of faith by singing, prayers and listening to their Christ-filled messages."

Recording of Anna Elizabeth Hinkle Turner's Affirmation. This work uses pre-recorded sounds and electroacoustic technique to find new sound possibilities. The composer's utilized; ProTools, SoundEdit 16, StudioVision Pro and SoundHack for the generation and mixing of all sound files.

Recording of Jo Thomas' African Violet. For electronics and pre-recorded audio.

Recording of Francesco Giomi's Agnaby. Realized at the Sheffield University Sound Studio (UK). Agnaby is an electroacoustic drama freely inspired by the novel "L'Etranger" by Albert Camus. It is also an attempt to get in touch, from a musical point of view, with Arab culture and language. The material is derived from a) environmental sounds of the Arab urban life and culture; b) fragments from Arab traditional music and texts; c) excerpts from the French text of the book read by Daniel Arfib. The objects, having pre-existing functions and carrying intrinsic associations and meanings, have been processed with different algorithms in order to create different degrees of transformation and recognizability. The formal structure of the piece is divided into two parts; the first follows the idea of a story taking place in an open and free space, with its noises and its sonic life; the second moves along the idea of a close and narrow environment, the courthouse of the novel, with its people, its atmospheres and its more introverted and predestined character. Agnaby was realized during a period of composer residence at the Department of Music of the University of Sheffield and it was premiered in Cagliari during the …

Recording of Zlatko Tanodi's Air. This piece was composed for bass clarinet and tape in 1997, and was first performed at the Music Biennale Zagreb festival in 1997 (the soloist for that performance was Ratko Vojtek). The composer's inspiration was the polysemy of the word air (air, atmosphere, area, aria, song with accompaniment). The motto of the whole work is a paraphrase of the concept of “air you were, air you are, and into air you shall return;” sound is treated as a special physical condition of the air needed for acoustic perception, as well as for starting of the resonance of the bass clarinet’s body. While a naked instrument looks for its own expression, offering building material heartlessly exploited by sampling machines, a cause-effect of man and machine appears: it is not possible to distinguish who is who. The acoustic instrument would like to sound like an electronic one, and electronic instruments more faithfully imitate acoustic ones. However, at the end, all these are just vibrations in the air, all is but air. Other association lines are also possible (e.g. building, history, money ways, etc.). This composition has four movements: RespIRAtion, PrepARatIon, Aria and Gone with the Wind. The …

Recording of Germán Toro Perez's Aire. This recording consists of two movements for tape: I. Aliento and II. Humedad. The composer used material from the piece "Stichwörter" by Georg Riedl, which consists of live bass clarinet and electronics. The main interest was to explore the transitions between noisy and harmonic sound.

Recording of Andrew May's Altered in transmission. For percussion and tape.

Recording of David Alarcón's Analysis and fantasy on jumping. For electronics and pre-recorded sound.

Recording of Petri Kuljuntausta's April fool. For electronics and pre-recorded sound.

Recording of Lou Mallozzi's Aquapolis. The sound material is language and ambient recordings. The text is written in English, and has been translated into German and Venetian Italian. There are aquatic sounds, body sounds, and sounds of physical labor. Conceptually, the piece is based on a fictional trans-historical walk through an aquatic city, loosely based on Venice. The piece is in four sections: Preamble, 2000 Years Ago, 200 Years Ago, and This Year.

Recording of Peter Dudak's Ash. Tape music for flute, cello, percussion, and violin.

Recording of Florivaldo Menezes' Atlas folisipelis. This work was written for oboe, English horn, and percussion. This work's sound materials were created by oboe, different countries' skin instruments, and 13 different bagpipes. The piece establishes a sound map of various geographical locations and focuses on the different archetypical elements of civilization. The composer separated the piece into 13 distinct parts that are connected without interruption.

Recording of Elsa Justel's Au lion...bleu. Words, phonemes, vocal gestures are transformed into a musical flow enriched by the colors specific to each of the participating languages. The word disguises itself as an atmosphere; it expresses its essence to merge with the music. Clouds of sighs fly away in a blue space, like fugitive wings rushing towards a distant horizon. The voice becomes matter of an unknown language. However, the sound discourse communicates a meaning to us. Of the lived experience, of the scent and of the sensitive unreality.

Recording of Carlos Gratzer's Ausbruch. This work was commissioned by INA-GRM and produced in their studios in Paris. The piece explores the relationship between sounds of nature and synthesized sounds. The composer modified and distorted the sounds of nature to persuade the listener into forgetting their origin and instead hear them as new material entirely.

Recording of William Kleinsasser's Available instruments. This work is meant to be performed by one piano, one Disklavier piano, and a computer system. The computer music in this piece results from various sound transformational processes applied to recordings of the piano music. The work as a whole explores the intrigue and risk of engaging musical instruments that are on technology's developmental edge.