Guest artist recital performed at the UNT College of Music Recital Hall.

A faculty recital performed at the UNT College of Music Recital Hall.

Guest artist recital performed at the UNT College of Music Recital Hall.

A faculty and guest artist recital performed at the UNT College of Music Recital Hall.

A guest artist recital performed at the UNT College of Music Concert Hall.

A guest artist recital performed at the UNT College of Music Recital Hall.

A memorial concert performed at the UNT College of Music Concert Hall.

A guest artist recital performed at the UNT College of Music Recital Hall.

A guest artist recital performed at the UNT College of Music Recital Hall.

A jazz faculty recital performed at the UNT College of Music Recital Hall.

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

A faculty and guest artist recital performed at the UNT College of Music Recital Hall.

A faculty recital performed at the UNT College of Music Recital Hall.

A faculty recital performed at the UNT College of Music Recital Hall.

A faculty recital performed at the UNT College of Music Recital Hall.

A guest artist recital performed at the UNT College of Music Recital Hall.

A faculty recital performed at the UNT College of Music Recital Hall.

A guest artist recital performed at the UNT College of Music Concert Hall.

A faculty and guest artist recital performed at the UNT College of Music Recital Hall.

This piece is thought a a real "live electronics" work which should be interpreted not only by the bassist but also by the "mixer". Because the bass part has a place for individual interpretation, the mixer probably has to adapt to the prepared sequencer – parts by leaving voices or changing the relations of volume in between the "tracks". In this piece, I tried to use my musical youth and roots. I started to contact with music by playing recorder and listening all the music around me (my father used to listen to Beethoven and Mozart the whole day) and by playing drums in a rock band. This mixture was the sound of my youth and I tried to recreate it.

Although composing a piece for tape in an electronic music studio involves a close relationship with modern Western technologies, I hope Gyuto evokes images and energies that submerge far and away the "high tech" machinery used in its performance. Inspired by the well-known Tibetan Tantric Monastery Choir Gyuto, this work generates itself abstractly Tantric spiritual beliefs and directly sounds created by the monks during their songs and rituals. The chants sung by the monks are used parsimoniously throughout the entire work. Structurally, Gyuto is composed of five general movements. The work opens on the image of the monastery, perched on a mountainside and ambiances when the monks, by their songs, invoke various gods, concentrating their energy to better explode then, radiating through the face of the world, resonating with all creation.

Recording of Unsuk Chin's Gradus ad infinitum.

Let us hasten, time flees and we drag along with us, the moment when I speak is already far from me. I like the quotes ..... Today they are so serious that they were in their fun time. They reflect a mentality whose image has faded for a long time. It is especially the musical quotations which, detached from their context, make a forced call to our recognition. Language and music have in common that they become, put together, anecdotal. Impotence takes me in front of commemorations. So I tormented myself, soon provincial composer in a new united Europe, which evokes a revolution that took place 200 years ago. Unimaginable to note all this in irony. A respectable dose of false romanticism may be enough in the tone. Formerly, in 1789, many heads fell. "The last pavane" is a walk, the surrealistic representation of a march to the scaffold. A pas de deux with time and death, jerky and veiled with quotes from different periods. And the doctor guillotine waiting for his patients to soften this last moment.

"Wait for Me" is a concrete piece based on various recordings: the ocean (recorded by Tovar at Backer Point), children playing in a park, a garbage truck loading a mooing cow. The dogs of "Leviathan", and a carousel with carousel recorded by Michael McNabb. The two pieces of text that come back often are "wait for me" and "ducky duck". Some of the voices that go into the mix of "Wait for me" were produced by increasing the sound contrasts. The amplitude of the sound (at each sample) was used as an index in a table containing a modulated sine wave. When a sine X is close to X = 0, the piano portions were left largely alone while the strong portions were changed (modulated) in an ever increasing quantity, the highest point being dependent on the source (index) of the frequency modulation. This process can be seen as a form of wave envelope. The other treatment used is something non-standardized that enhances the method used in "Leviathan" to diversify sounds. As in this piece, I often varied a given sound very slowly, taking small portions of the sequence and making them overlap. In "Wait For Me!", The length of …