Recording of René Uijlenhoet's Red Junction. This is a work for four or two audio tracks and was commissioned by the VPRO for the VPRO/NPS program Supplement. The composer created this work to show that the instrument, ARP, had been created long before the time of "mass production" in sound. With the ARP, the composer was able to create a naturally untamed and percussive sound world.

Recording of Michel Karsky's Contr'gris. This work was created for the Autumn Music Festival in Moscow and includes spoken Japanese and French text. The word "grisaille" is repeated several times and this composition plays on the notion of "grisaille". The title was recommended to the composer by a Russian musicologist who emphasized the importance of an accent when speaking it.

Recording of Manuel Rocha Iturbide's Semi no koe. This is a work for flute and tape and was conceived and almost entirely produced in Tokyo, Japan. The sounds in the piece were inspired by the birth of cicadas as well as the complexity of nature as a whole. This work was commissioned by flautist, Alejandro Escuer, and premiered at the "Festival Internacional de Arte Sonoro" in Mexico City. The composer structured this piece with the same formula as a Haiku, and discovered that many Haiku's and poems written in Japan reference the sounds of insects and other animals.

Recording of Frank Ekeberg's Terra Incognita. This is a work for electronics that takes a journey through the sonic landscape of "Terra Incognita". This composition is meant to evoke images of something real or imaginary while bordering on a narrative of an unfamiliar land of which the composer has devised a history for.

Recording of Stelios Giannoulakis' A Beautiful Dream. This composition was created to accompany a video by Jung Chul Hur. The work tries to communicate the memory of love through the lens of a character.

Recording of Stelios Giannoulakis' A Beautiful Dream. This video, created by Jung Chul Hur, is accompanied by a composition of the same name. The work tries to communicate the memory of love through the lens of a character and includes various kaleidoscopic visuals as well as a performance by dancer, Nicha Kumkeaw.

Recording of Paolo Besagno's In purissima luce. The composer states that this work is a requiem for his friend, Franco Nocentini, and comes from the image of his friend feeling free and joyful.

Recording of Colby Leider's Veritas ex Machina. This is a work for electronics.

Recording of Juan Sorrentino's Steamboat. The sound materials in this work were recorded from a Steamboat as well as the water it traveled through. The composer compares the different sound elements to various types of traditional music as well as other elements entirely. The composer states that the Steamboat is born and dies within the piece.

Recording of Rajmil Fischman's And I think to myself.... This is a work for electronics that was inspired by the song "What a Wonderful World". The idea of the piece comes from the idea of taking a virtual "stroll" through a utopia described by Plato in his book, The Republic. There are three central movements that correspond to the realization of wisdom, courage, and temperance.

Recording of Claude Hermitte's Un peu de surprise et d'amour. This composition is a sonic tribute to the work of painter, Max Ernst. The sound materials used in this work represent different motifs in various paintings by Ernst. The voices used in this piece are 4th graders from Auriol College.

Recording of Peter De Moncey-Conegliano's Video No 3. This composition was created to accompany a video by artist, Pia Videla-Hintze. The work as a whole explores global tragedies as well as the effects of technology and waste on planet Earth. The tragedy of 9/11 along with the subsequent destruction of Afghanistan inspired this composition.

Recording of Adrian Moore's Becalmed. This is a work for electronics and is the first piece in a song cycle called "Sea of Singularity". This song cycle explores the interrelationships of sound and was influenced by the theories and artworks of the Fauves. The composer sees this piece as a gentle reflection upon natural sounds after years of working with harsh sounds of rhythm.

Recording of Béla Faragó's Pattern modulations. This work is for electronics and the sound of instruments, the opening is full of dense synth sounds, which fade into repetitive flowing modular fragments and melodies.

Recording of Laura Bianchini's Nell'aria o sulla terra?. This is a work for sound pipe, flute, and live electronics. It is based on the dialectic of alternation of two elements: earth and air, matter and spirit, breath and sound. The transformation of the coarse sound of the pipes to the well tuned sound of the flute is the result of a process obtained with electronic devices controlled by the performer and pre-recorded electronic sound sequences.

Recording of Giuseppe Di Giugno's Intersezione 01. This is a work for electronics that includes sounds of robotic voices. The composer of this work is known for his work as both an inventor and physicist. During the early 1970's he turned his focus away from particle physics and began working on electroacoustics and digital sound.

Recording of Iancu Dumitrescu's Bolids & Contemplation. This is a work for electronics that the composer considers a numerical composition, starting from some proportions and numerical series, which gives it structure. The rhythmic aspect of the instruments' performing must interact with the numerical relations in the pre-registered computer-assisted musical part.

Ensemble performance at the UNT College of Music Winspear Hall.

Transcript of an interview with James Hudson, Army veteran (3rd Platoon, 36th/83rd Quartermaster Trucking Company, 470th Quartermaster Regiment), concerning his experiences in the European Theater during World War II. Hudson discusses his youth in segregated Yalobusha County, Mississippi; his reaction to being drafted, December, 1942; basic training, Camp McCain, Grenada, Mississippi, 1942-43; segregated training facilities; maneuvers at Camp Polk, Louisiana, 1943; training in truck maintenance and operation; relations between white officers and black enlisted men; entertainment on and off base for black soldiers; illiteracy among black troops; voyage to Europe, February, 1944; pre-invasion training around Cardigan, Wales; transfer of the unit to Swansea for further pre-invasion training; his observations of the Normandy landings, June 6, 1944; the landing of his unit on June 7 at Omaha Beach; establishment of beach supply depots; his participation in the activities of the "Red Ball Express," August-September, 1944; his description of war damage in German towns and cities; postwar adjustments to segregated society in Mississippi. Appendix consists of photocopy of "Honorable Discharge" (1 page).

Ensemble performance at the UNT College of Music Winspear Hall.

Ensemble performance at the UNT College of Music Winspear Performance Hall.

Ensemble performance at the UNT College of Music Winspear Hall.

Ensemble performance at the UNT College of Music at Winspear Hall.

A symphonic band concert performed at the UNT College of Music Winspear Hall.