Recording of Paul Geladi's 5 Cookies. This piece is based on percussive sounds that come mainly from 5 cookie jars and a broken aluminum broomstick. It is a reworked version of "5 cookie jars and a broomstick" from 1995.

Recording of Scipio di Agostino's 5 Interazioni cicliche alle differenze sensibili. This work consists of 5 untitled movements. This composition was written for string quartet and computer processing. The string instrumentals are not meant to sound like their traditional timbre and instead have become something that is algorithmically conceived and interactively regulated.

Recording of Jeffrey Faustman's 5 little things mother taught me. This work is a collection of five miniatures composed from three sound sources: the soprano voice from Edgar Varese's "Poem Electrique", the composer's voice, and a radio broadcast. The movements are titled: 1. Cantare, 2. Tedium, 3. Traumen, 4. Distance, and 5. Escape/Hallucination.

Recording of Jeffrey Faustman's 5 little things mother taught me. This work is a collection of five miniatures composed from three sounds. Most of the material was generated from a single sample of an analog recording of a soprano voice - the soprano voice from Edgar Varese's POEM ELECTRIQUE "to be exact. The other two sound sources are the composer's voice and a radio broadcast.

Recording of Jonty Harrison's Abstracts. This work includes 2 recordings. One of which is simply the produced electroacoustic tape on its own. The other is a live performance of the tape along with the University of Birmingham Symphony Orchestra performing on top of it. The composer's goal was for the tape to create musical continuity while the live performers abstract upon it in varying ways.

Recording of Jean-Louis Poliart's Acousmaclarine. This work consists of two recordings: one of the electronic tape only, the other of the electronic tape and bass clarinet performance on top. This work is a counterpart to the 1980's piece "Contrephase" and has an opposite approach to the relationship between the electroacoustic montage and clarinetist.

Photograph of the Administrative Team for 1998: Alvoid R. Bennett, Sylvia V. Robinson, Ruben Izaguirre, Angela McPherson Williams, Evelyn Wilkins, Elizath Ramirez, Sharon Crockett-Bell, Debra Gee, Dr. Lynn Hills and Dr. Charles A. Taylor. They are standing in the Heritage Room in front of an open door and a plant in the corner of a room. Dr. Taylor's hands are resting on a podium, which is visible in the far right of the photograph.

Recording of Ari Taskinen's African Procession. This piece is based on recordings of wildlife the composer took in East Africa. He also played certain phrases with various percussion. The composer separates the track into two parts: the first represents the nighttime and the second represents the day. The end of the track uses primarily synthesized sounds and creates a sense of a never-ending cycle of life.

Recording of Roderik de Man's Air to Air. This work was composed at the request of the European Wind Ensemble and was dedicated to them. It premiered in Ysbreker, Amsterdam. Almost all the sounds on the tape were derived from flute, trumpet, and clarinet sounds. The work was meant to be a dialogue between the tape recording and the live performers.

Recording of João Pedro Oliveira's Alap-jor-jhala-gat. This piece is part 2 of the larger work: The Journey of Sounds, and is based on the traditions of India. This recording is separated into two versions, one with violin and viola and one without. It was commissioned for the festivities of the 500th anniversary of the Portuguese discoveries.

Recording of John Young's Allting Runt Omkring. This piece was inspired by the soundscape of Stockholm and sound materials from that location were used as well as from the composer's own country. All sound materials in this composition are environmental in origin.

Photograph of an altar to Roy Lozano. The altar is tall and triangular, with many streamers and flowers adorning it. Oranges, lemons, bananas, cookies, and pretzels hand from expanses of string across the altar. A multicolored blanket covers a table within the altar, upon which are laid oranges and three bottles of amber liquid. Three Day of the Dead masks are attached to the top of the altar. On the ground, a layer of pinto and black beans create a symbol. Also on the ground is a basket of cookies and cured meats, as well as four vases of yellow and orange flowers. To the left of the basket is a black and white program. Behind the altar is a mural in maroon and white, which is largely hidden by the altar.

Photograph of Rita Fonseca (Alumni member), Patricia Davila (Alumni Secretary) and Patricia Williams (Alumni Vice-President). Ms. Fonseca is wearing a pink jacket. Ms. Davila is wearing a black dress with white trim. Ms. Williams is wearing a blue, short-sleeve jacket. An arch of flowers and ribbons as well as two plants are behind them.

Photograph of the alumni reunion in 1998. Several tables are visible (white and blue tablecloths with red chairs) and most of the guests are seated. A blue wall and two sets of doors are visible in the background. Named persons include Surcie Thompson (standing), Vyadra Moore, Mary S. Francis (in pink) and Johnnie M. Thompson.

Photograph of the alumni reunion in 1998. Attendees included graduates, friends and employees. Several tables are visible, with all guests seated. Named persons include Brenda Hill, Rusty Boyd, Annie Brown and Patricia Edwards, who are all seated at the table in the foreground. The tables have white and blue tablecloths and red chairs.

Photograph of the alumni reunion in 1998. Several tables are visible, with blue and white tablecloths and red chairs. Named persons include Mary Francis (in pink), Johnnie M. Thompson (in blue and white stripes) and Corean Carter (standing, in blue). The Heritage Tree, a podium, tables, a plant and the Texas flag are visible in the background.

Photograph of guests standing in line for dinner at the 1998 alumni reunion. Named persons include, from left to right, Rev. and Mrs. C.S. Marshall, Kitty and Katy Flores and Arthur Porter. A trophy case and drinks table are visible in the background.

Photograph of Jackie Adkins-Dozier, Mistress of Ceremonies for the alumni reunion, standing behind a podium with the Heritage Tree in the background. She is wearing a royal blue dress.

Photograph of Eddie L. Harris standing behind a podium with the Heritage Tree in the background. He is wearing a black jacket, blue shirt and red tie. He is visible from the chest up.

Photograph of an alumni reunion in 1998. Several tables are visible, with blue and white tablecloths and red chairs. A video camera, plant, balloons and set of doors are visible in the background.

Photograph of young man wearing a red Lee College basketball jersey. Text on sticky note on the back of photo reads: André Graves. Printed on the back of the photo text reads: SEPT98 <No.25>003 / 425 01**NNN1-65 2(02

Recording of Marco Pedrazzi's Aqua Mater. Composed in Milan in 1998. The composer speaks of water as the symbol (and maybe not the only symbol) of the matrix and of the dynamic of life; the water of the existences. The water is the place where there is birth and death, and it is the place of the beginning where all possibilities have to be realized and all the thigs must go back. In ancient cultures, the sea on our planet and the celestial sea set upon us were always described as deriving from the same nature. The water can be understood as the place of the creation of all souls, with all beings (men, gods, animals etc.) descending from it. To pass the sea means a spiritual initiation, a passage from one being's condition to another one. This work is an homage to this. The work has been composed over a year using huge complex dynamic sounds events, paraharmonic synthesis, and vocal research. The sound events have been generated using complex partials, harmonic shifted and formants synthesis. The parts of this work have been written and synthesized with CSound, edited and processed with Soundhack and Digidesign software. Languages: CSound. Programs: …

Photograph of the historic Arcadia Round Barn, off Route 66.

Photograph of the historic Arcadia Round Barn, off Route 66.