Some Find Me... contrasts two portions of Gerard Manley Hopkins' poem "The Wreck of the Deutschland." The poem, which actually has thirty-five stanzas, was written in response to the sinking of the ship the Deutschland in the mouth of the Thames. The ship was carrying five Franciscan nuns who were exiles from Germany. In this poem Hopkins (who was a monk) is trying to come to terms with his conflicting emotions and impressions of God brought on by this tragedy. The two stanzas I chose (#4 and #11) seem to sum up the overall expression of the poem. The composer’s slant on the poems is from an anti war stance and sees the text as expressing two different interpretations of a creator. He sees that regardless of the religion, there are two main approaches: Those that use religion for war and those that use religion as anti-war. This piece is meant to promote peace rather than a specific religious belief. The piece was realized at the University of Alabama and Birmingham-Southern College Electronic Music Studios. The soprano featured on the tape is Carmen Mason. 11 "Some find me a sword; some The flange and the rail; flame, Fang, or flood' …

At the beginning of 1989, the Experimental Music Group of Bourges asked me to contribute to a project of international composition to celebrate the 200th anniversary of the French Revolution. While I was trying to find a favorable angle to the approach of the project, I felt with more and more repulsion the chauvinistic harmonies of the official celebration of the French Revolution. In any way, I loved France, how could I participate in the celebration of a nation that even in the 200 years of the Declaration of Human Rights continued to try atomic bombs on the Atoll Mururoa in the South Pacific? My participation became a lament for Mururoa, and I did not send it to France until after the end of 1989. The creation of "The Lamentations of Mururoa" should have taken place by the sea, with two speakers in the water and two others on the beach behind the audience, the soloist standing at the edge of the water. Unfortunately, a thunderstorm canceled the project and this creation took place in a quiet location on the coast of Lolland, the island where I live. The piece is for soprano and four-track tape that includes an electronic …

Composed on the "UPIC" system made by I.Xenakis and digital synthesizers, for the exhibition of the sculptor Nefeli at the center for contemporary art "Ileana Tounda", in 1989, in Athens.

Recording of Sten Hanson's Déclaration des Droits de l'Homme.

"Mura-Iki" was inspired by the different traditions of playing the flutes, especially those from the Far East. The Tradition of the Shakuhachi was of particular importance due to the extensive use of breathy playing. Thus the tittle "Mura-Iki" which means "Explosive Breath". The piece is though written for the "modern" Boehm Flutes, all played by one performer. The performer has generated sounds of different kinds : breathly sounds with and without tongued attack ; harmonics ; flageolets ; overblowing ; hole slaps ; mixtures of tones and breath ; multiphonics ; break tones ; different kinds of lip pressure, etc... All these kinds of techniques are fed into the computer and then manipulated and edited. In this way, the electronic material emerged : large breathy sounds contrary to breathy attacks, hard percussive sounds and sustained multiphonic-like soundscapes. The performer, on the other hand, performs the sounds in their pure nature origin. In addition to the above mentioned main material, eight double-basses have been synthesized partly for providing a sonic contrast due to the different kinds od attacks and sustained character, and partly to provide a "bottom note" for the feel of floating "tonality" especially during the parts where the multiphonics …

"Dialog II" is a composition about the songs of the humpback whales. Wales are able to compose songs, consisting of six themes, which can be each separated in 4 or 6 motives. These motives change during the travel of the whole group of whales from the North Pole to the South Pole and back wards. Time after time new motives come into the song, others are lost. This idea is the idea of the composition. Between the musician and the computer begins an interactive process, both are getting more and more to a unit. The playing of the musician controls the out put of the computer. The output of the computer controls the out put of the musician. The score exists in form of a computer score, which is put on the computer screen. The computer score is generated live while the performance and is in every performance different. The composition is a real time composition in which the musician controls with his play his intensity the process and duration of the composition.

This work uses as its source material a set of Thai gongs housed in the Ethnomusicology Department of Victoria University in Wellington, New Zealand. These gongs are tuned to seven-note equal temperament. This scale is used as the basis of the work's tuning. The gongs and a set of wind chimes were transformed by means of a Fairlight III digital synthesizer into the sound materials of Koan.

Was initially conceived as vocal music for two choirs, however the computer realization, which I prepared in 1987, took over from this first conception and resulted in a piece that would be hard to define. A11 the sounds have been synthesized. They originated by direct sound synthesis on the WAX/EMS computer using the CHANT program. These sounds created in the first two minutes of the piece. The sounds for the subsequent 12 minutes which form a kind of variations, are transformations of the original material, either through digital reverberation and delay or using voices and sound layers super imposed onto one another. They were realized at the polish Radio's Studio Eksperymentalne" in Warsaw in 1989. The central idea of the piece is the progressive decomposition. Starting from the "realistic" vocal sound it leads onto more and more "electronic" idioms, which never less retain elements of their vocal origin. The world premiere of the piece took place at the Techno-Musical Biennale in Koriyama, Japan in August 1989.

Recording of Wolfgang Foag's, Deus ex Kommagena. This piece is built up as a "triptychon", combining a church tune with a harsh melody figures and chords in the central part. The recording equipment includes: studiomaster 12/2B, TEAC 80/8, FOSTEX 20. The instruments heard are Sequential Circuits Multitrack, Yamaha TX81-Z, Washburn Delay WD1400, Yamaha MCS2.

Recording of Pedro Guajardo's Geodesic Life. This piece is of 6 dancers and one musician. The sound sources for this piece have been sampled from ethnic percussion instruments and voices, one feminine, and the other from a two year old child. All the sequences are repeated 13 times and the the tempo also increases 13 times. The dancers explore hitting sound sculptures on a geodesic done that is amplified. The musician playing a MIDI wind controller, while the tape plays back recorded acoustic sound.

Recording of Vladimir Djambazov's No contact II. It is dedicated to loneliness and hope in all its forms. This work is a rhythm composition, centered on 13 simple numbers: 1,2,3,5,7,11,13,17,19,23,27,29 and 31. There is both recordings which are processed and manipulated to alter the sound and sound that was synthetically created.

Recording of Annette Vande Gorne's Aglavaine ed Selysette. Musique de scène. This work uses traditional electronic technique to manipulate sound and create a eerie soundscape. The use of sound within the space is truly key within this work. The sounds are all around the stereo system and sometimes sound closer and further away.

Recording of Claudio Ambrosini's Il satellite sereno. This piece revisions how early electronic music utilized certain sounds. The beginning white noise is used as a time marker. Then, it closes with an unexpected minimalistic section. The marimba transforms its timbre to eventually become the white noise heard at the beginning.

Recording of Bernard Fort's 12 haiku pour la paix céleste. This piece is for 12 haikus for celestial peace. Haikus are very short Japanese poems which with reading, demonstrate the way of photography, as moments, sensations and feelings. There is a wide variety of both synthesized sounds and manipulated samples.

Recording of Klaus Martin Kopitz's Teilstrategien. The piece's subtitle is "10 variations about the sound of a language". There are recorded improvisations of bass clarinet and piano, which were stacked up to 12 tracks with electronic effects. The 7th Variation is only made up of speech and incorporates nature recording.

Recording of Jean-Luc Therminarias' Du lard à des cochons. This piece tells a story by integrating video editing concepts into electronic technique and music. The story referred to is of the three little pig and the big bad wolf. This piece uses Serre editing and tape.

Recording of Allen strange's Cygnus for environment-driven computer music system.

Recording of Gabriel Brnčić's Clarienen tres (version para vila). This work is a 3-voice polyphony crafted with an algorithm developer and written by a computer. In Clarinen tres, the instrumental soloists follow the path of the recorded sounds with the same melodic approach. There are other versions with clarinet, alto flute, viola, and cello.

Recording of Roger Doyle's KBBL - The morning show. This is an imaginary radio station broadcasting from the 25th floor of a mile-high futuristic tower of Babel. The composer has collaborated with D.J.D, singers and actors and in his private studio has re-created a parallel universe tower city where people of many cultures live together. The composer played all instruments and engineered and produced the whole thing.

Poster advertising a concert by Last Rites and Stoned Ed on Saturday, February 18th, at The Library, Denton, Texas. Poster features a photocopied photograph of four people laughing, with hand drawn text in the lower left corner and down the right hand side, on light orange paper.

Poster advertising the Insect Rights benefit for the homeless concert by No Excuse, Shitface, Snail, Why am I, Fly Spects, Rev Buck Naked, and Refractory Period on March 25, 1989, at Sons of Herman, 3414 Elm St., Dallas, Texas. Admission was five dollars. The event included the short film, "Communion in Room 410" by Joe Christ. Poster features a central black and white scientific illustration of several types of insects with the words 'INSECT RIGHTS' in black type, and event details below the illustration in black type.

Poster advertising a concert by Salt Lick and The Lones on Wednesday, March 2oth, at Main Event. Poster features a black and white photograph looking up at a seated, cross-legged man and the bottom of his cowboy boot. The photograph is on the left side of the poster, with handwritten text on the right side.

Jazz Lecture Series presentation by Don Grolnick on March 07, 1989 at 9:30AM at the UNT College of Music. It includes a lecture and performance by Don Grolnick, piano, interspersed with questions from the audience.

Jazz Lecture Series presentation by Jamey Aebersold on April 25, 1989 at 2:00PM at the UNT College of Music. It includes a lecture and performance by Jamey Aebersold, saxophone, interspersed with questions from the audience.