Percussion ensembles concert performed at the UNT College of Music Recital Hall.

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

The National Museum of the pacific War presents an oral interview with J. Lloyd Abbot. Abbot received a commission in the Navy in 1939 and served two months aboard the USS Enterprise (CV-6) before being tasked to bring an old destroyer, the USS Gilmer (DD-233), out of mothballs. He stayed on it for a while before going to flight school in Pensacola. He earned his wings in November, 1941. Due to some accidents and illnesses, Abbot was disallowed to fly from carriers. He was assigned to shore-based anti-submarine patrol squadron, VS-1D-14, in December 1942. In April 1943, the squadron was divided into two and Abbot was placed in command of VS-66 on Wallis Island. At the end of 1943, his squadron inherited some SBD dive bombers and they moved to a new base on Tarawa. In March 1944. Abbot was assigned to the staff of the Chief of Naval Air Training at Pensacola. He was there when the war ended. After the war, Abbot commanded VF-41 aboard the USS Franklin D. Roosevelt (CV-42). Throughout his career, he served as the operation officer aboard carriers, worked at the Pentagon, was commander of the Antarctic mission and commander of a carrier division …

A shower of grains with an average duration of 80 milliseconds but perceived as a continuous sound produces shifts of changing timbres. The sound source for this granulation made in real time comes from samples whose mathematical data are recorded on a hard disk (it is quanta whose frequency modulation (FM) and the spectral envelope (formants) have been predetermined. ). The reading mode of these data is controlled in a way (as if read stuttering) to perceive as a musical gesture what could otherwise be a succession of brief and irreducible sound events. The piece is a psychological poem that explores aspects of pitch and interval, temporal perception, and timbre in a context of selective listening (auditory streaming). "Fermata via media" was produced (1990) at Simon Fraser University's Electroacoustic Music Laboratory with the help of GSAMX sampling programs for granular synthesis and compositional PDFILX developed by Barry Truax.

Recording of Rodolfo Acosta's Si tan solo fueramos libres. This work is for guitar and electronics. This work explores the possibilities of electronically manipulated guitar and a wide variety of traditional electroacoustic technique.

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.

Recording of Milan Adamciak's Tincanchant. For electronics, manipulated pre-recorded sound, and samples from varying sources. Created using traditional electro-acoustic technique.

Lecture given Sunday, February 23, 1992, 7:30 PM at Abilene Christian University

Lecture given Monday, February 21, 1994, 7:00 PM at Abilene Christian University

A Guest Artist Recital performed in the UNT College of Music Concert Hall.

Concert presented at the UNT College of Music Recital Hall.

A senior recital presented at the UNT College of Music Recital Hall.

Recording of Mathew Adkins' Clothed in the Soft Horizon. The work presents a communitive interaction between electronically built sounds and the original unprocessed sounds, which are modelled after water droplets and the motion of a wave that builds, crashes, and breaks. This use of processed and unprocessed sound is the overall bas of the work and also the Spectro morphological design of many of the individual sounds. Overall, the work is both a physical representation of the flow and motion of the water and a personal response to it.

Recording of Mathew Adkin's Melt. Melt is the description of a train journey. The work is based on the mediation between: regular movement and impulse, and raw sounds or computerized sounds. The basis of the work is live recordings of trains, metro announcements, crowds, synthesized sounds with characteristics of natural sources, and synthesized sounds. Throughout the work, the sounds of the real world mix with the synthetic equivalents of the dream world, like a traveler falling back in and out of a dream day.

Recording of Mathew Adkin's Noumena. "Noumena" was a term used by Kant referring to the things that underline our experience both of the physical world and of our own mental state. This work is a number of short discrete sections that play continuously, with the sections alternating between "inner" and "outer" senses.

Recording of Mathew Adkin's Pagan Circus. For electronics, manipulated voice, and pre-recorded sound. This work is based upon two sources: the poem Pagan Circus by Rose Dodd and the circus paintings of Frantisek Tichy (1896-1961).

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' Breaking. This work mixes electronic sounds with those of classic R&B music.

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 Mathew Adkins' Neutrotransmission. This is a work for electronics.

Recording of Mihail Afanasiev's The Circle of Existence. This is an opening of the new way of the author's expression. The syntheses of instrumental and studio thinking and the use of synthetic instruments. The fragment of the quartette of the composer V.Belyaev, with whom the composer studied with in conservatory, is used in composition.

Recording of Mihail Afanasiev's Ni le rêve, ni lumière, ni la tristesse…. This is a work for electronics and is the continuation of the new sound space mastering.

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