Lecture given Monday, February 22, 1999, 8:30 AM at Abilene Christian University

Lecture given Tuesday, February 23, 1999, 8:30 AM at Abilene Christian University

Lecture given Tuesday, February 23, 1999, 11:00 AM at Abilene Christian University

Lecture given Tuesday, February 23, 1999, 3:30 PM at Abilene Christian University

Lecture given Monday, February 22, 1999, 2:00 PM at Abilene Christian University

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

Recording of Jeffrey Faustman's I consumer (concerto for car horn, television, and falling children). This work consists of three parts: 1. kleptomania - adagio, 2. pennies from heaven - allegro, and 3. human remains - andante. This work is for electronics and takes samples from various radio and television shows that highlight the overwhelming amount of consumerism presented in media.

Recording of Didier Gino Favotti's Molecules. This work consists of various concrete and electroacoustic sounds that the composer states do not sound pleasing on their own, but come together to create a new sound space. It's separated into five movements that are untitled.

Recording of José Miguel Fernández's Attract. This work was composed in 1999 as part of a FONDART project of the Ministry of Education of the Chilean government, on the use of mathematical models (chaotic and stochastic) for musical composition and interaction with the computer. For this work, the composer used two chaotic models (torus and logistic map) for the clarinetist's score and random models (Brownian, 1/f and white noise) for the spatialization of the sound. The samples were made with Csound, Audiosculpt, Peak and Protools (for some editing). A pitch-to-MIDI converter triggers MIDI events on a proteusFX with a random beat. The computer keyboard triggers the samples as well as a Max sequence made with the torus model X n+1 = X n + Ksen Y n. The title for this composition is taken from the strange attractors which have recursive equations and fractals; it is also drawn from the attraction which produces some sounds in the unfolding of the work and in the interaction.

Recording of Antonio Ferreira's Ambidecst. This composition is based on rhythmic cells produced using several contrasting concrete and synthetic sound objects. Several episodes are assembled between them in order to create abrupt feelings of running and escaping. This composition was made using Csound, Cecilia and Metasynth and was globally mixed for Ambisonics UHJ stereo compatible. Final mixing and mastering done in Protools LE.

Recording of Ambrose Field's Expanse Hotel (Durango Mix). This work consists of five short movements: 1. Storm, 2. Horse Drama, 3. Orient Express, 4. Exotic Beach, and 5. Lost moments. Each movement portrays a different film situation, and the work as a whole represents old, British films.

A faculty performed at the UNT College of Music Recital Hall.

A chamber music recital performed at the UNT College of Music Recital Hall.

Recording of Patrick Fleury's Manta I. The sound material in this piece was produced by the natural resonance from one of the composers steel sculptures.

Lecture given Wednesday, February 24, 1999, 3:30 PM at Abilene Christian University

Recording of Alexander Gabryś' L'Ultima volta con decadenza. The composer describes this work as a "collage" made up of grains of music created the the last few decades by musicians close to his heart. One piece included in this recording is "The Rite of Spring" by Stravinsky. This recording is meant to highlight the end of a century and the start of a new one.

Recording of Diego Garro's Six Dreaming Jewels. This work consists of 6 movements: 1. Agate, 2. Hydropicus, 3. Chrysoberyl, 4. Cymophane, 5. Bezoar, 6. Carbuncle. The composer was inspired to write this work while reading The Dreaming Jewels, a novel by Theodore Sturgeon.

Recording of Paul Geladi's Den devenu. This work is meant to explore history as well as looking to the present and future. The composition itself consists of different layers inspired by musical themes from the 20th century, however all sounds have been synthesized to create historical reviews in a pedantic manner.

Recording of Thomas Gerwin's TTr2.

Recording of Stelios Giannoulakis' Raga fits Love Raga. The sound material in this work is improvised melodic lines played on an electric guitar. The piece as a whole explores the guitar as an instrument together with the processing and editing possibilities for its sound.

Recording of Stelios Giannoulakis' Zrrraam!. This work consists of processed speech, instrumental sounds, water, machines, and doors to help explore the duality between "inside" and "outside". The piece was mentioned at the Bourge International Electroacoustic Competition in 2000.

Recording of Francesco Giomi's Menu. This work is a radiophonic soundscape of the "kitchen". It includes three different types of sound: keynotes (background sounds from the kitchen), sound signals (sound and gestures in the foreground), and markers (specific sounds which have a specific meaning for people who work in the environment). The structure is outlined by spoken phrases taken from the real menu of the restaurant.

Recording of Lucien Goethals' Dendrofonies. This is a work for electronics.

Lecture given Monday, February 22, 1999, 11:00 AM at Abilene Christian University