A jazz faculty and guest artist recital performed at the UNT College of Music Kenton Hall.

Recording of Scott Adamson's A Scent of lilac drifts the bank of county 282. For electronics and electronic instruments.

The small bodied instrument has a long neck and twenty strings. The instrument is decorated with ivory along the length and relief carving on the body.

Recording of Mathew Adkins' Silent red. This work was written as part of a multimedia performance. For three dancers, three video projections and electroacoustic sound. This work was inspired by the triptych paintings of Francis Bacon. The sound was created from recording of the dancers during improvisation sessions. This current version is a shortened concert version of the original dance presentation.

Recording of Mathew Adkins' Mapping. According to the composer, this work depicts the slow evolution of a landscape and brings the listener through unknown territory as sounds from the real world are transformed. The piece deals with the notion of "beginning" and the perception of objects over time.

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

Interview with Navy veteran Richard Donley. The interview includes Donley's personal experiences about the Mediterranean Theater during World War II, boot camp, Fleet Torpedo School, encounters with German "F-lighter" armed barges and E-boats, various assignments, and combat against enemy destroyers. Donley also talks about screening operations for the invasions of Sicily and Salerno, operations along the coasts of northern Italy and southern France and the interdiction of German barge traffic, torpedo problems, commando and intelligence operations, returning to the States, his reassignment to the Motor Torpedo Boats Training Center, and transferring to Samar, Philippines.

Transcript of an interview with Hugh M. Robinson, a Navy veteran (Patrol-Torpedo Boat Squadron 3), concerning his experiences in the Pacific Theater during World War II. Robinson discusses the U. S. Naval Academy, 1934-38; assignment to the carrier USS Yorktown, 1938-39; assignment to the destroyer USS Bainbridge, 1939-41; assignment to Motor Boat Submarine Chaser Squadron 1, 1941; assignment to Patrol Torpedo Squadron 2, 1941; operations around the Panama Canal, 1942; reorganization of PT Squadron 2 and his transfer to Patrol Torpedo Boat Squadron 3 for duty in the Pacific; operations around the Solomon Islands, 1942-43; his promotion to commander of PT Squadron 3, 1942; engagements against the "Tokyo Express," 1942-43; his transfer to the staff of Patrol Torpedo Boat Flotilla 1, 1943; transfer to the States, 1943, to the Motor Torpedo Boats Squadron Training Center, Newport, Rhode Island; assignment as air defense officer aboard the battleship USS Wisconsin, 1944; his description of being caught with the 3rd Fleet in a massive typhoon in the Philippine Sea, December 18, 1944; offshore bombardment for the Iwo Jima and Okinawa Campaigns, 1945; offshore bombardment of Honshu and Hokkaido; and his postwar naval career.

Transcript of an interview with Ralph Robinson, a scientist, engineer, and physicist, concerning his role in the development of the proximity fuse in World War II. Robinson discusses his education and technical training, employment with the Office of Scientific Research and Development in 1942, technical aspects of developing proximity fuse, the practical applications of the proximity fuse in the Atlantic, Pacific, and Mediterranean Theaters, and offers comments about the roles of Franklin D. Roosevelt, Harry Hopkins, and Vannevar Bush. Appendix includes photograph of Ralph Robinson.

Transcript of an interview with Harry C. Strawn, Army Air Forces veteran (31st Fighter Group, 12th Air Force; and 413th Fighter Group, 14th Air Force), concerning his experiences as a fighter pilot in the European, Mediterranean, and Pacific Theaters during World War II. Appendix includes the introduction to "In a now forgotten sky: the 31st fighter group in WW2" by Dennis C. Kucera.

Transcript of an interview with Iliff D. Richardson, a Navy veteran, concerning his experiences as a guerrilla fighter in the Philippine Islands during World War II. Richardson discusses his assignment to patrol-torpedo boats in the Philippines, 1941; orders from General Douglas A. MacArthur to establish a clandestine radio network to maintain communications with Commander Southwest Pacific after his evacuation from Corregidor; his role in plotting Japanese minefields in Leyte Gulf prior to MacArthur's return in 1944; pre-invasion weather reporting from Leyte to MacArthur's headquarters; dealings with Filipino guerrillas; transfer to stateside duty and his work with the Industrial Incentives Division of the Navy Department; and the sale of rights to the book about his adventures, "American Guerrilla in the Philippines."

Ensemble concert performed at the UNT College of Music Recital Hall.

Recording of Javier Alvarez's On going on. For baritone saxophone and computer/tape. The piece puts forward the idea of ​​"out of sound" by juxtaposing the tempered saxophone played live with the computerized saxophone. The interaction between the two pieces ranges from minute changes in pitch to the clearly audible disagreement between them, especially evident in these sounds played in unison. This creates the evolution, sometimes with a tense atmosphere. This material is contrasted by percussive and rhythmic outbursts which in the context give stable harmonic cues.

Recording of Juan Amenabar's Cantiga en el umbral. For voice, pre-recorded instruments, and electronics.

Recording of Cèsar Amiguet Puig's Dimers liquids.

Recording of Elizabeth Anderson's L'éveil. This piece is the first in a cycle that explores the paradox of opposition in the sense of physical appearance as well as in the psychological reality of mankind. The piece concerns itself with the creation of the universe and its two poles. The idea of contrasts presented in the introduction are then developed on a larger scale throughout the rest of the piece.

Recording of Joseph Lloyd Anderson's Kyai Pranaja. The composer gives thanks to the help of Simon Gray and David Malham, he also thanks Dave for his advice and instruction regarding Ambisonic theory and techniques.

Recording of Linda Antas' Still, Yet, Again.

Recording of Per Arvidsson-Bremmers' Drop !. This piece was commissioned by the Swedish National Institute of Public Health. The task was given to different artists to create a work that would shed light on HIV and AIDS.

The task of providing military defense for the Texas Frontier was never an easy one because the territory was claimed by some of the greatest querrilla fighters of all times—the Comanches, Kiowas, Apaches, and Lipans. Protecting a line running from the Red River southwest to El Paso was an impossible task, but following the Mexican War the federal government attempted to do so by establishing a line of forts. During the Civil War the forts were virtually abandoned and the Indians once again ruled the area. Following the war when the military began to restore the old forts, they found that the Indians no longer fought with bows and arrows but shouldered the latest firearms. With their new weapons the Indians were able to inflict tremendous destruction, bringing demands from settlers for more protection. In the summer of 1866 a new line of forts appeared through central Texas under the leadership of General Philip H. Sheridan, commander of federal forces in Louisiana and Texas. Guardians of a raw young land and focal points of high adventure, the old forts were indispensable in their day of service and it is fitting that they be preserved. In and around the forts and …

Recording of Larry Austin's Djuro's Tree. Octophonic computer music. Djuro's Tree is centered around a family portrait of three generations. The story is set in a dynamically moving octophonic "family" tree of sound. The sounds of the tree's limbs creaking and rustling were taken from the BBC Sound Effects Library. The creaking limbs are a recording of a squeaking wooden chair. Software and hardware systems used in Birmingham included Sound Designer, SoundHack, Audiosculpt, Csound, and GRM Tools, on a Macintosh computer.

Recording of Miguel Azguime's De l'étant qui le nie. The sound material in this piece was taken from a piano solo piece written by the composer years earlier. Some piano sounds have been modulated to create an electroacoustic counterpart.

Recording of Christian Banasik's Wenn die klagestimmen der stadt II.

Recording of Natasha Barrett's Little Animals. This work is an acousmatic composition. A forest of small creatures begin to transform and interact with their surrounding environment. Slowly, sound fragments lose their acoustic source-bond to leave the bare essence of their expressive content, and gradually unfold an abstract musical discourse. Flow characteristics, both intrinsic to the sound and freely imposed by the listener's own natural sense of time, gradually unfold, leaving an impression of personal interpretation combined with the feeling of being a passenger, carried through the music.