Faculty recital performed at the UNT College of Music

Faculty and guest artist recital performed at the UNT College of Music Recital Hall

Faculty recital performed at the UNT College of Music Recital Hall

Recital performed at the UNT College of Music Recital Hall.

Faculty recital performed at the UNT College of Music

Fall/Spring performances program book from the 1985-1986 school year at the North Texas State University School of Music.

Spectrum recital performed at the UNT College of Music Concert Hall.

Recording of Eric Chasalow's Left to his own devices (To Milton Babbitt at 80). In this work, the composer combined archival interviews with Milton Babbitt with a virtual RCA synthesizer. This music draws on quotations from Babbitt’s instrumental music performed by the sounds of the RCA. The text composited of phrases that Milton has spoken many times over the years. The composer has tried to intensify these phrases by building a dramatic, musical structure both from them and around them.

Jazz Lecture Series presentation by George Simon on February 18, 1986 at 9:30AM at the UNT College of Music. Includes lecture by George Simon, interspersed with questions from the audience.

Jazz Lecture Series presentation by Dave Holland on March 11, 1986 at 2:00PM at the UNT College of Music. Includes lecture and performance by Dave Holland, bass, interspersed with questions from the audience.

Jazz Lecture Series presentation by Jon Faddis on March 25, 1986 at 2:00PM at the UNT College of Music. Includes lecture and performance by Jon Faddis, trumpet, interspersed with questions from the audience.

Jazz Lecture Series presentation by John Patitucci on March 22, 1988 at 2:00PM at the UNT College of Music. Includes lecture and performance by John Patitucci, bass, interspersed with questions from the audience.

Jazz Lecture Series presentation by Eddie Daniels on April 8, 1986 at 2:00PM at the UNT College of Music. Includes lecture and performance by Eddie Daniels, clarinet, interspersed with questions from the audience.

"Hapsis" is a cello room in its own right. This one indeed is present not only on stage, but also through transformations carried out using digital means, exclusive material of the band. These transformations are not radical, it was not for me, thanks to virtuoso manipulations to "reinvent" the cello, but on the contrary to constantly keep the imprint by the development of some of its characteristics. No unheard sounds, but the meeting between a cello and his double and a constant concern for balance between the two for what I hope to be a small tribute to this instrument. Work done at the INA-GRM in Paris.

This composition is based on a magic square, which is on a copper engraving by Albrecht Dürer, entitled "Melencolia I" (dated 1514) The figures 17 and 34, resulting from the different additions, represent in this magic square as well as in my composition of the structural values. Numbers penetrate the composition in multiple ways, take the foreground to disappear to become elusive, rise to the surface to fall back into the vagueness. But it is still the magic square of Albrecht Dürer, without overturning or shimmering. It is not a matter of twelve-tone or serial technique. According to the rules that I asked myself, the figures of the magic square were joined by lines and geometric shapes very varied resulting that inspired me strongly by their symmetrical beauties. At the center of the composition, I worked with fifteen "mutants" of the magic square that originated from the fact that I always took another number (1-16) as a starting point. They do not have the same magical qualities, but have the same beauty of symmetry. I put them into a computer program to focus on "unreal" atmospheres as in a perpetual meditation, the composition circulates as part of this magic square.

It moves..., It moves not... is concerned with rates of change. The initial solo shakuhachi section opens with a ‘model’ structure which is continuously transformed to reveal the potential for change within the original form and a certain inherent resistance to this process. The tape part, realised at the Birmingham University Electroacoustic Music Studio, aims to reinforce or contradict the types of movement in the shakuhachi part, whilst retaining a degree of independence. Much of the source material for the tape is derived from the sound of another Japanese instrument - the shamisen. It moves..., It moves not... was commissioned in 1986 by EMAS with funds provided by the Greater London Arts Association. In addition to analogue source sounds the tape part uses synthetic material, realised in Music-11 at the electronic music studio of Nottingham University.

Recording of Wes Richard Wraggett's La mer de lumière.

Dedicated to Hélène Berton Sound Production based on texts from Marie Uguay Voices (by appearance order): Marthe Turgeon, Jean-Pierre Matte, Marie-Claude Trépanier, Gilles Laforce. The reading of the used texts suggest the creation of "poetic characters" that are so many views, words, interpretations stemming from the poetry. These caracters, which are four in number, were confided to many different voices: actor or radio-speaker, female or male, natural or transformed, alone or multiplied. In addition to this radio-style uses of the voice, are the electroacoustic ones by the use of interpretation choirs where the narrators echo the many-sided meaning of the poetry. The tittle was choosen in reference of an hospital room and also of this place, represented by the white colour-which included all the others-located between the birth and the death, maybe the ones of Marie Uguay (who was prematuraly dead in 1981 at the age of twenty-five), where all the virtualities, all the possibles are permitted. La Chambre Blanche was realised in 1985-86 at my own studio and at the studio of University of Montréal. This creation was possible following a grant from the Explorations program of the Canada Council. The texts of Marie Uguay come from the anthologies …

Recording of Philippe Blanchard's La Boîte de Pandore.

This is a concrete piece made in 1986. The sound materials in opposition are a "crash" hard, metallic and a serious white noise. However all sounds derive from the same source which is the recording of a train. The ways of recording and the sound world alone, can be seen as a cordial greeting to the financiers of electronic music.

"Wet" mainly includes computer-processed sounds. The rest of the sounds are produced by synthesizers controlled by computers and an acoustic violin.

This piece consists of connection of the "unit" of sounds. "Unit" has 18 minutes each and all. 12 patterns of the "Unit" have the original arrangement of sound-image, time-structure, reverberation, auditory localization, and arrangement of the series of time by the random operation (Monte Carlo simulation) or the structure used long tone only. The connection of the "Unit" was operated by the 3 kinds of random-numbers. (Uniformly random number sequence). There are 2 kinds of the water-tone. One is the sampled sound that was rotated and modulated of its waveform by digital sample. The elements of this sound were used from the recorded natural river sounds; sample late is 33 KHz. The other is the synthesized sound by FM tone generator. This isn't a natural sound. The group of the connection of the "Unit" by sampled sounds come on the group of the same connection of the "Unit" by FM synthesized sounds. The computer was used as the controller of these "Unit's", Aleatonic compose.

The composition uses the traditional structure of theme and variations in extended form and therefore could have also been called "Variations on a Children's Dance". It may be divided into four parts. 1) introduction of a part of the transformed theme 2) transformed variations on the theme and its variations 3) the theme 4) variations on the theme The theme (3) is a little Hungarian gipsy children's dance. I composed, realized and stored it and the variations on this theme (4) on analogue tape in 1983. The sound is produced by 24 analogue and 16 digital oscillators with the help of my own music program ILI (Interactive List Interpreter). After I built up a software communication system between different signal processing programs (Makrostikon), and after Paul Pignon`s Giant Fourier Transform program was ready to be used, I started to work on the piece in 1986. The new softwares allowed me to to continue work on the original material {3, 4). To start with, I digitized the theme and its variations (3, 4) made in 1983, and stored them in the VAX computer system of EMS, Stockholm. The working procedure afterwords included analysis, resynthesis, transformation and mixing. The underlying structure of …

Recording of Ari Taskinen's The Marriage of Hell and Heaven.