Chamber Orchestra and Symphony Orchestra concert performed at the North Texas State University Concert Hall.

Recording of Wilfried Jentzsch's Paysages V. This work is part of a series of works called the "Paysage Cycle" which are pieces for solo instruments and tape. This work focuses on the violin and explores the different interactions between the violin and tape.

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.

Interview with John R. "Jack" Price, an executive at the Caltex Petroleum Corporation, discussing his background, working for Caltex in China, India, and South Africa, relations between Caltex headquarters and branch offices, the construction of the Caltex refiner at Vishakhapatnam, and the formation of Caltex East and Caltex West.

Recording of Miklós Sugár's Shapes (Formes). Originally for cello solo. But in this aspect, "Formes" was never played again, because the composer and musician realized that the original instrument could be electronically modulated. Since then it has been played that way. In this work, the electronic modulations of the timbre and the different superpositions of the piece project into each other. The individual repetitions are also electronically generated. "Forms" is made up of four movements and the repetitions always appear in different ways.

Recording of Gabriel Brnčić's Des Etres. This work is dedicated to the memory of Oscar Masotta, a specialist in psychoanalysis and semiology. This is music that recalls the atmosphere of the first montages of the imaginary theater that Oscar Masotta created in the 60s in Buenos Aires and to which I collaborated by producing infinite quantities of sound. Now, a viol and a computer, in eight-voice polyphony, constitute this absence of being, constantly speaking of its presence.

Recording of Burt Warren's Racter and Eliza- A computer opera (of mistakes). For computer voice synthesis. Racter and Eliza are two computer programs which were early attempts at artificial intelligence. The computers were ran by feeding the outputs of one into the input of the other and they were able to interact. Using an Amiga computer little speech synthesis was used, and the voices were fed through a malfunctioning pitch to voltage converter; resulting the electronic accompaniment.

Recording of Charles Amirkhanian's Walking Tune (a room-music for Percy Grainger). Inspired by Grainger's Walking Tune for piano solo, Amirkhanian uses a Synclavier digital synthesizer to combine sounds from multiple locations, along with the sounds of a violin and voice. The violin and voice part is performed by Elizabeth Baker of the Los Angeles Philharmonic.

Recording of Simo Lazarov's A Momentary Dialogues for instrument and computer. This piece was created for the occasion of Mathematical Conference in Prague, Czech Republic.

Recording of Bernard Parmegiani's Exercisme 3.

"Litanéa" is an anagram of Electroacoustic Litanies. An exaggerated desire for possession of articulated sound material (down to the microscopic level) is not without the risk of developing a rational, even scientific, mind. In music, this exaggeration leads to a state of mind that may dry up in his desire for absolute possession of the material. A certain part of the periodicity must be left to the music (which does not belong to the composer) otherwise the sound can not exist. Litanies are of all times and all countries, and if they have been a form of religious expression calming the mind, creating a self-hypnotism beneficial on the psychological level, it has become clear to apply this musical form to the new technology of electroacoustic music. What is the point of these phonemic and vocal sounds? Probably first the rhythm of words (this pseudo-periodic rhythm that we find in all music) in cycles, like the planets in their regular races in the universe, then the stamped value of these words ( the timbre that makes the man for the musician). Make me hear your voice and I will know who you are, or rather who you are not (in the …

Recording of Jean-François Minjard's Petites Histoires Noires.

The composition comprises of two sections: In the first, the quest begins. Tension is built by the use of glissandos and timbric glides that converge and diverge from certain pitches never resting for long. The quest or searching builds up until its inevitable conclusion, finding, and in the rythmic aftermath the very simple timbric and pitch material to be developed in the second section is presented. The second section develops the rhythmic pulsations. They mix and interfere with each other in progressively more complex patterns until the remembrance of the quest returns quietly. This material takes hold of the composition without entreily displacing the pulsating theme and both conclude turning the remembrance into reality. All sound materials are originally created patches for a CZ101 synth. The 8 step envelopes are used in 4 oscillator patches to the precise glissandi that comprise much of the material. The sounds were orchestrated in 12 parts which are the 12 stereo tracks later recorded. All the materials were arranged and sequenced from a Commodore 64 computer using Dr. T Keyboard Controlled Sequencer without tape sync.

The tape part is generated entirely from the recording and manipulation of sounds produced by an alto saxophone, giving a natural homogeneity between the live instrument and the tape. Many saxophone articulations were sampled on the fanlight and underwent treatment or the computer and were then ordered and controlled though the CML (composer page). At times, these were recorded (with DBX) unto the 29 tracks, and multi track reel (when complex testures were sequined) or direct unto the PCM. Editing was done on an otani while other events were created by using traditional tape techniques on revoxs. The work can be divided into equal haves of about seven minutes each. Beginning with the saxophone. Similar material is heaved at the beginning of each half o the tape however the first half beunes a much more introspective journey than the second.

When you reach "the zenith of your life", you may be tempted to look at your past. Moving forward to the future is not easy. Reflections on the past can occur spontaneously without a particular structure, and by fugitive associations. Memories of various episodes appear unrelated. For Jon II is a piece where the main form of music is based on a similar process. The various parts of the piece seem to lack obvious connections and a clear structure principle for the whole piece. Small episodes or "little musical stories" follow each other without any apparent sequence, which means brutal changes and sharp contrasts, as the most important characters of the composition. The piece is divided into 3 movements. The first two movements can be played separately. The designation of the 3 movements is I: vivace, II: Intermezzo and III: finale. For Jon II is the last part of a book that has 4 and is now complete. The other pieces are: For Jon I (fragments of a time to come) 1977; For Jon III (they extricated their extremities) 1982; Epilogue; rhapsody of the second harvest, 1979.

Twelve months of electronic music by Gunner Moller Pedersen. And Lydar is a concept, an imaginary unity. Theoretically, we can define a year of sound as the distance that the sound travels over a year: 60 x 60 x 24 x 365 x 0.34KM = 10 722 240 KM. That's about 28 times the distance between the Earth and the Moon, but less than the light or other electronic waves that would do in 35.74 seconds. Sound is physically associated with Earth and Humanity, but its oscillations of the Universe, and it may be an explanation of what, through the medium of music we can feel the universal relationships that are otherwise hidden from our intellectual faculties. The ancient myth of "the music of the spheres" appears, like many other myths, to have a current basis in reality, and with electronic music we have the means that allow us to penetrate more deeply into the universe. In electronic music the universal oscillations are transformed and combined so that we can perceive them in the form of sounds. At the same time in a purely physical way, electronic music brings a spatial dimension to musical effects, and the concept of time …

WITH LOVE, 1986, a fantasy for live cello and decorated cello cases, in memory of Myrtle Hollins Adelberg, by Vivian Adelberg Rudow, won FIRST PRIZE in the 14th International Electroacoustic Music Competition, Bourges,1986, program division. It won with straight ten's. Rudow was the first woman to win a first prize in the Program division of the Bourges competition and the first American woman to win any first prize. This work was composed for live cello and stereo tape. For the first performance, January 1986, Paula Skolnick-Virizlay, cellist at the Baltimore Museum of Art, two separate tracks were transmitted to two separate speakers, one inside decorated cello case "Electronic Mom", the other inside decorated cello case"Electronic Woman". Amalie Rothschild, Baltimore artist, created the cello cases. The sounds coming from the different speakers represented the feelings of that specific woman. All the sounds from "Unmarried, spirited, flamboyant, "ELECTRONIC WOMAN" were electronically reproduced by the composer. The sounds from "ELECTRONIC MOM" were spoken thoughts from 23 people in interviews about their moms and moms sharing their thoughts about being mothers, original music composed for the work, plus fragments of earlier works by Ms. Rudow. The cellist sat between the two ladies and the …

Recording of Zack Settel's Homage for Peter Lampheris.

Riverrun creates a sound environment in which stasis and flux, solidity and movement co-exist in a dynamic balance. The corresponding metaphor is that of a river, always moving yet seemingly permanent. From the smallest rivulet to the fullest force of its mass, a river is formed from a collection of countless droplets and sources. So too with the sound in this composition which bases itself on the smallest possible 'unit' of sound in order to create larger textures and masses. The title is the first word in James Joyce's Finnegan's Wake. Riverrun is entirely realized with the method of sound production known as granular synthesis. With this method small units or 'grains' of sound are produced, usually with very high densities (100-2000 grains/sec), with each grain having a separately defined frequency and duration. When the grains all have similar parameters, the result is a pitched and amplitude modulated sound, but when random variation is allowed in a parameter, a broad-band noise component is introduced. All sounds in this piece were generated with real-time synthesis by the DMX-1000 Digital Signal Processor, up to a maximum density of 2375 grains/second. However, in many cases, lesser densities were also used since often the …

Mixte (1982) is a pedagogical piece that is part of the Melange collection (volume 2) published by Heugel: the purpose of this collection is to introduce the flutist student to contemporary game modes, and especially to the game. of "mixed" rooms where the instrumentalist dialogues with the digital sound recorded on a tape or other recording medium. Thus, the flute part avoids the acute register of the instrument: but it resorts to flatterzünge, sounds noises, percussion keys and licks. The collection joins the score a cassette containing a copy of the magnetic tape, and also the recording of the complete piece with instrument and tape. The tape, entirely computer synthesized, presents several soundscapes, sometimes in imitation, sometimes in contrast to flute sounds, which it often prolongs or harmonizes; she strives to avoid mechanical quality and conduct musical phrasing. The concerting relationship between the instrument and the band is in the character of chamber music.

In this work, the sound material has been worked in such a way that the live soundtrack and the tape are merged into the sound result and so that there are always new "exchanges" between the two partners.

I developed the entire music from a piano improvisation by F. Gulda, which was recorded for this purpose. I did not use any other material than ours, by the sound chemistry of the electronic transformation, I formed many figures (gestalten): full of colors, voices, bells, instruments, wind and rain, no sounds without name etc ... From all its components, I built something like a landscape that can be used as an immediate acoustic environment. "Landscape" is mostly abstract, however, with a small tribe with everyday acoustics.

Recording of Ben Guttman's The Birth or Report From the Bird of a New Weather.

This work is based entirely on the composer's closely microphoned voice and is a kind of self portrait.