This piece wants to produce, from these well-known instruments, sounds never heard by means of the introduction to micro world of these instruments, by the electroacoustic technique. These new sounds mix with the well-known sounds of these instruments. All three instruments are two complete parts. The first parts of the three instruments must be recorded and modulated. On the occasion of a recital / live performance, this band must play the second part of the third instrument, without any modulation. Among the five mono-thematic movements, there are three cadences for each instrument. The band of the piece was performed in the Hungarian Radio Studios in 1982, with the collaboration of Istvan Horvath sound engineer.

Clepsydra is part of this vast acousmatic fresco made of steps forward and back on the first works. Composed in this last idea, this piece is the second movement of the 1st Grimoire of the "acoustic illusion", not created until tonight, devoted to the element water. The 2nd Grimoire (1982) was born before the complete creation of the 1st Grimoire. The first purification of the material therefore took place before the shaping of the initial material. However, thanks to the evolution of the experience, I wondered about the stability of my basic building and I got a clearer idea about this project. These reflections have actively served me in the development of Clepsydra. Around the "Athanor", the "Vulcan Forge" and the "Blue Corps of the Night", Clepsydre closes "perhaps" the 1st Grimoire, presenting the philiphaly houses of the acousmatic creation. This is how this work is woven with a number of natural atmospheres evoking a cloister in the rain and sounds created in the studio.

Recording of Gabor Dárvas' Poèmes électroniques

An electroacoustic work composed by Teresa Rampazzi.

A recording of Chiaki Takatsuki's Aya. Waves of electronic sound twisted like threads are twisted little by little. First, a dynamic scene, making use of the revolving sound image. At the end, space of tranquility. A gyrating sound was made from the original circuit, based on two controlled amplifiers (voltage). One can find a circular sound not a circumference but in front of or behind the audience.

Recording of Enrique Macias's Lied für Maria. This piece was created and realized at the Studio de Musique Electronique de l'Academie de Musique of Krakow Poland. This piece is included in a cycle of of three Lieder that the composer wrote in 1982.

Recording of Rob Kruit's Unknown Roads

Recording of Reed Holmes's Song and Fantasy. Song and Fantasy was realized in a Fairlight Computer Musical Instrument (CMI). Almost all of the tape, originated as live trombone sounds. To accomplish this, the composer wrote several lines and fragments for trombone. Tracy Collins, the trombonist, played the music as the composer recorded it on a reel-to-reel tape deck. These sounds became the source material for the composition. The composer fed the material into the computer by a sampling process, and from this point, most of the manipulation was performed in the computer.

Recording of Theresa Rampazzi's Géométrie in Moto.

Recording of Bohdan Mazurek's Epitaph - to the Victims of Terror. This piece is dedicated to the victims of peaceful demonstrations in the defense of the basic human rights staged by the people on August 31, 1982, in over sixty towns across Poland. Anti-government street demonstrations were organized by Solidarity to commemorate the second anniversary of the Gdańsk Agreement. The bloodiest protest occurred in southwestern Poland, in the town of Lubin, on August 31, 1982. The Lubin demonstration resulted in three protesters killed by Communist services, and an unknown number of wounded.

Recording of Patrick Lenfant's Alternances. Alternances explores a different aspect of other synthesizer pieces that I have previously composed. The synthesizer is used here as a generator of as varied an electronic material as possible. This material and its temporal articulation, instead of being definitively fixed on a magnetic support, will evolve according to the instrumentalist. Indeed, this one has two control pedals, piloting the synthesizer and allowing it to make coincide its playing and its musical time with the variations of the electronic material which it controls completely. Alternatively, the synth will generate pure electronic material, or the flute will interfere with it either by modifying it or by triggering it. Instrumentally, many game modes are put into action. The flute player alternates these precisely in relation to the score. The spirit of this piece is that of a "fantasy" creating ranges free of improvisation, in a way testing the flexibility of the electronic variations that can be obtained from a device that is not in the strict of the term an "instrument", but which can become so if one imagines the means to control it, to "sensitize" it to instrumental playing.

Recording of Iván Patachich's Alterego per Percussioni Solo e Nastro. This piece wants to use the possibilities of electroacoustic modulation in the field of percussion instruments. The score of the composition consists of four parts noted in a traditional way. The second, third and fourth part are transformed by electroacoustic means, the first part remains without any modulation. The room is made up of short sections. During these sections, free rhythms alternate. The composition has a bridge shape, its climax is at the end of the fifth section. The main modulations are: filtering with controlled voltage, re-injection, transposition, spatialization, etc.

Recording of Tera De Marez Oyen's Charon's gift. For piano and tape.

Jazz Lecture Series presentation by Bob Brookmeyer on March 2, 1982 at 9:30AM at the UNT College of Music. The lecture is interspersed with examples, questions and answers.

Jazz Lecture Series presentation by Bob Brookmeyer on March 2, 1982, 12:30PM at the UNT College of Music. The lecture is interspersed with examples, questions and answers.

Jazz Lecture Series presentation by Joanne Brackeen on March 9, 1982, 9:30AM at the UNT College of Music. The lecture includes a performance by Joanne Brackeen, piano, interspersed with questions from the audience.

Jazz Lecture Series presentation by Leonard Feather on March 23, 1982, 9:30AM at the UNT College of Music. This includes lecture by Leonard Feather, interspersed with questions from the audience.

Jazz Lecture Series presentation by Joanne Brackeen on March 9, 1982, 12:30PM at the UNT College of Music. The lecture a performance by Joanne Brackeen, piano, interspersed with questions from the audience.

Jazz Lecture Series presentation by Frank Foster on April 6, 1982 at 9:30AM at the UNT College of Music. This includes lecture and performance by Frank Foster, saxophone, interspersed with questions from the audience.

Jazz Lecture Series presentation by Frank Foster on April 6, 1982 at 12:30PM at the UNT College of Music. This includes lecture and performance by Frank Foster, saxophone, interspersed with questions from the audience.

Jazz Lecture Series presentation by Tom Scott on April 13, 1982, 12:30PM at the UNT College of Music. The lecture includes a performance by Tom Scott, tenor saxophone, interspersed with questions from the audience.

Recording of a Jazz Lecture Series presentation by Clark Terry on April 20, 1982 at 9:30AM at the UNT College of Music. It includes a lecture and performance by Clark Terry, trumpet, interspersed with questions from the audience.

Jazz Lecture Series presentation by Jackie Cain and Roy Kral on April 27, 1982 at 9:30AM at the UNT College of Music. This includes lecture and performance by Jackie Cain and Roy Kral, vocals and piano, interspersed with questions from the audience.

Jazz Lecture Series presentation by Jackie Cain and Roy Kral on April 27, 1982 at 12:30PM at the UNT College of Music. This includes a lecture and performance by Jackie Cain and Roy Kral, vocals and piano, interspersed with questions from the audience.