Recording from NPR's "Billy Taylor's Jazz at the Kennedy Center" series. Taylor interviews clarinetist Alvin Batiste and Batiste and the Billy Taylor Trio play several Jazz tunes in front of a live audience. Also included are NPR promotional spots from the original program.

Recording from NPR's "Billy Taylor's Jazz at the Kennedy Center" series. Taylor interviews saxophonist Nick Brignola and Brignola and the Billy Taylor Trio play several Jazz tunes in front of a live audience.

Recording from NPR's "Billy Taylor's Jazz at the Kennedy Center" series. Taylor interviews jazz violinist Karen Briggs and Briggs and the Billy Taylor Trio play several Jazz tunes in front of a live audience.

Recording from NPR's "Billy Taylor's Jazz at the Kennedy Center" series. Taylor interviews soprano saxophonist and flute player Jane Bunnett and Bunnett and the Billy Taylor Trio play several Jazz tunes in front of a live audience. Also included are NPR promotional spots from the original program.

Recording from NPR's "Billy Taylor's Jazz at the Kennedy Center" series. Taylor interviews saxophonist James Carter and Carter and the Billy Taylor Trio play several Jazz tunes in front of a live audience. Also included are NPR promotional spots from the original program.

Recording from NPR's "Billy Taylor's Jazz at the Kennedy Center" series. Taylor interviews singer and pianist Freddy Cole and Cole and the Billy Taylor Trio play several Jazz tunes in front of a live audience. Also included are NPR promotional spots from the original program.

Recording of Frank Corcoran's Quasi una missa. This work is comprised of 4 movements and was composed as a mass. Sound materials for this piece include English and Irish spoken word.

Recording of Guto Caminhoto's Paisagens Londrinenses 2. This piece is the second of a series of compositions based on soundscapes of Londrina city. The sound material uses recorded nature sounds as well as urban soundscapes. These sounds were then processed and synthesized over other sounds.

Recording of Artem Vassiliev's Pre-lute. This work includes improvised performance on a lute and explores various connections between sonic metaphors from different periods in history. It is an attempt to represent time by musical means. The structure of the piece was inspired by Franz Liszt's preludes.

Recording of Artem Vassiliev's Story 1. This is a work for violin and tape that is based on the interplay of a plot and a character as it often can be found in the stories of literature. The title reflects some extra-musical aspects, which mostly affect the structure and dynamic shape of the composition. The composer states that this piece can be performed in a live concert setting where the soloist should play using a clock and watching the time grid in the score.

Recording of Ricardo Mandolini's Las claviculas de Salomon. This work includes sound materials of various origins that are arranged in a form close to 'ABA'. This piece includes sound samples from 3 different pieces by the composer including trumpet and guitar instrumentals. The final section returns to the materials already presented.

Recording of Ricardo Mandolini's El espiritu de la Iluvia. This work moves away from the trend of concrete music by highlighting the origin of sounds and trying to transform the materials as little as possible. A natural narrative is created and evokes the ecological cycle. The main focus of this piece is rain and it's cycle. The sounds of nature as well as Altai throat singing are mixed into the piece in order to create compositional intention.

Recording of Patrick Kosk's Radiatus Sarchophagus. This is a work for electronics and is meant to express small remarks or comments about contusions, repetitions, crossing overs, open minds, etc.

Faculty recital performed at the UNT College of Music Recital Hall.

Faculty recital performed at the UNT College of Music Kenton Hall.

Recording of Yuanlin Chen's Couleur de Pékin. This is a work for electronics.

Recording of Rogelio Sosa's Maquinaria del Ansia. This composition is an attempt to translate into sound the sensations that are felt during a state of anxiety. The challenge was to create a musical discourse starting from a minimal number of elements, in this case only one recording of a stroke on a wood body was used. This sound, through transformation and manipulation, created all material for this piece.

Recording of Rubén Hinojosa Chapel's FX 1050. This piece explores the possibility of electroacoustic music creation with limited means. The entire piece was developed from a sound fragment of a dot matrix printer. It premiered at the "XIV Festival de La Habana de Música Contemporánea" in 1999.

Recording of Pablo Cetta's Como explicar el Rojo. This is a work for alto saxophone and electronic sounds and is divided into three sections. The first and third sections are constructed by structuring pitch in sets that modulate in terms of consonance or dissonance. The central part, in contrast, is developed around slightly tonic sounds or variable pitch sounds. The title of the piece alludes to the question and the answer as well as the difficulty to describe what is perceived by the senses.

Recording of Matthew Burtner's The Winter raven. This recording is a collection of excerpts from a live performance of the opera. This is a large-scale multimedia composition for voice, instrumental ensemble, electronics, dance ensemble, video projection, and theatrical staging. The three act composition metaphorically connects an Inuit creation story, in which the world is created by "Raven" with snow, with the ecological seasonal approach of winter. Each act contains a chamber music piece with video and a "story" involving music, dance, and interactive video. This piece was inspired by the composers home in Alaska and was written as part of his dissertation at Stanford University. It premiered at the University of Virginia in 2003.

Recording of Lennart Westman's Spiritus. This is a work for audio and video and consists of 3 movements: 1. Passacaglia Spiritus, 2. Spiritus Animatus, and 3. Graal Hommage. The work as a whole was inspired by the poetry of the Swedish poet, Gustaf Fröding as well as the music of Bach. All three movements premiered at ICMC2002 in Gothenburg, Sweden. The work consists of synthesized sounds as well as segments performed by a four-part choir with singers from two Stockholm choirs.

Recording of Christian Calon's Time well (la fontaine du temps). This work was commissioned by Ina-GRM with the help of the CAC and premiered at the Maison de Radio France in 2002. This work belongs to both a radio work (z | s) and sound installation (Time Corridor) that act as projects centered on the question of time. This piece is meant to create awareness of time through listening and is segmented into 4 tracks.

Transcript of an oral monologue by John A. Hugghins. Hugghins finished high school in Bryan, Texas in May, 1041, and went to Baylor University that fall on a football scholarship. He joined the Navy and was called to active duty in July, 1943. In the meantime, he stayed in school. Once he received the call, he reported to stations in Mississippi and New York for training. When he finished midshipman school in Plattsburgh, New York, he was commissioned an ensign in June, 1944. He immediately reported to Charleston, South Carolina, where LSM-152 was under construciton. Before long, he was made gunnery and supply officer assigned to USS LSM-201, which became his home for the duration of the war. Aboard USS LSM-201, Hugghins passed through the Panama Canal on the way to Pearl Harbor, where tanks were loaded aboard the vessel for transport to Iwo Jima. Hugghins speaks about his first impression of Iwo Jima, the naval bombardment prior to the invasion and making a landing there. He also discusses the flag-raising and what it felt like to witness that. Hugghins visited the island one day and got a tour from a Marine in a jeep. He also visited the Marine …

The National Museum of the Pacific War presents an interview with Tom Peays. Peays served as a pilot with the Air Transport Command in the China-Burma-India Theater during World War II. He joined the Civilian Pilot Training Program in Lubbock, Texas in 1940. He received his commercial pilot’s license and joined the Army Air Forces primary training program in 1941. He received his instructor’s rating and served as a flight instructor for aviation cadets in 1942. He went to the Air Transport Command in Dallas and took a civilian job flying military airplanes throughout the US. In 1943 Peays was commissioned as a flight officer. He flew B-24s, B-25s, C-54s, C-87s. He received his training in Homestead, Florida. In December of 1943 he was sent to Calcutta with a C-54 crew. He shares details of his travels, flying through various weather conditions, hauling high-octane aviation fuel. He traveled across the Himalayas and Burma where he encountered Japanese Zeros. He served in the China-Burma-India Theater as a pilot from 1944 through 1945, and was discharged in March of 1946.