Recording of James Aikman's Hyper mix: sent to analyze lifeforms. The work combines digital sampling/editing of non-musical sound sources, including stationary exercise bicycles, rowing machines, clangorous weights, and a basketball scrimmage, with digitally sampled and edited musical source material (harp, flute, trumpet, voice, saxophone, drums, and full orchestra). Frequency modulation synthesis and digital effects processing are also used in this work. This piece refers not only to various activities of physical education, but also to the hectic stereo mixing procedure.

Recording of Marc Ainger's Lament. This piece uses acoustic instruments, electronically built sounds, pre-recorded audio, and traditional electronic techniques.

Recording of Jan Pascal Alagna's Poéme de la lune aux abois, suivi du réveil des oiseaux II. This pieces is the object of a process of knowledge, direct and immediate, of the elements of the world that surrounds us, of the minerals, the animals, which are transformed by the movements of water.

Recording of David Alarcón's Grito 1. This piece emphasizes silence many times and as the piece plays the silence become less and less. There is heavy use of musical spatialization, the sounds travel through the stereo listening field. This piece utilizes many sound and tones from many different frequencies.

Recording of Joseph Lloyd Anderson's In Mosaic. This work is for digitally manipulated voice. This piece explores the possibilities of electronically manipulating the voice and mouth sounds. The piece begins with a granular synthesis sound, taking tiny grains and layering them at different speed, phases, volumes, and frequencies. This same process is done for the mouth sounds, but the grains are further apart creating space and more transparency.

Recording of David Arzouman's Humpty Dumpty's Unfortunate Diversion. This common nursery rhyme from Mother Goose is a variation of one of the oldest and most universal stories on earth. Its curious images, seemingly nonsensical, work as profound symbols. Humpty is a personified egg. This represents the potential birth of each individual’s higher spiritual faculties. To be on top of a wall is to be equipoised between the various worldly dualities. The image of a fallen, shattered egg is an apt metaphor for the spiritual, mental, psychological, and physical fragmentation that results from failing that test of balance. The task of restoration, though seemingly impossible and certainly beyond the scope of worldly power (all the king’s men), is nevertheless not explicitly ruled out by this verse. In this composition, the fall of Humpty Dumpty is symbolized by the opening descending piano tones. The successive tones become increasingly fragmented spectrally and temporally. The sustained chord that remains is both a record of the fall and, like Ariadne’s thread, the way of returning. The premise for the piece is that each tone that was fragmented must be made whole in order to move one step closer to the original estate, which is represented …

Recording of David Arzouman's Precipitation, composition for computer-generated sound. Precipitation (in its specific sense of falling)–the introduction and transformation of sound material as proceeding from the uppermost portions of the sound spectrum to the lowest. Condensation–the dialing off of any modulation or reverberation of the original sound material. Crystallization–the lining up in time of the elemental sound units and the removal of envelopes to these units so that they link together into an organized whole. It was created at the Brooklyn College Center for Computer Music on a Sun 3/160 computer, using two different composition programs developed by the composer (Fromp and Speck). It is based on a recording of a thundershower.

Recording of Patrick Ascione's Chants Sphériques. This work exploits the mobility and successive metamorphoses of characteristic spatial figures. The sounds move according to various configurations specific to their meaning, but also inside these "frames of spaces" already in motion, or sometimes even outside these frames. Sound is therefore here to space, what color is to form for the painter. Original version is for 16 speakers.

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

Recording of Wende Bartley's Ocean of Ages Revealed. This work was composed using the granular synthesis technique on the PODX computer music system developed by Barry Truax at Simon Fraser University in Vancouver. Original source material includes the voices of Brenna McCrimmon, Hayne Brown, and Paul Dutton, the Staro Selo ensemble, and the Bulgarian gaida played by Nick Ouroumis.

Recording of Alain Basso's Acéré. The intention was to create a piece about war. Different object sounds were recorded in the studio, to have a wider palette of percussion sounds. The idea is that these percussions gradually change. As in the repetition of a 'kata', a movement sequence in martial arts, the concentration becomes more intense and the sounds increasingly sharp, by playing on the harmonics they contain. To give a feeling of space to this movement, transformed soundscapes create an atmosphere with a progressive opening and a greater perception of the human presence.

Recording of Charles Bestor's Soliloquies.

Recording of Michele Biasutti's Le soir, la vent, la mer. This work is for flute and signal processing. In the piece the flute was utilized to produce aeolian sounds. In the formal organization of the piece the timbre has a primary role. As in a game, the flute sounds are masked by the signal processing and only at the end of the work it is possible to hear the real sound of the flute in a condition of aleatory harmony in which the instrument produces chords of harmonics.

Recording of Bruno Billaudeau's Sale temps ce matin ! This works describes the story of a person who discovers a place a place of curiosity and mystery in his city.

Recording of Thomas Bjelkeborn's, Do it again. The compositional work uses breaking dried out tree branches, which are heavily processed with electronic techniques. This sound file has been transformed over and over and with sound mutation and has been split in various sounding directions. This piece uses transformations which are similar to partly human gestures controlling the changes. The resulting sound files were cut, spliced and mixed in a canonic form where the original sound file length has been kept as far as musically feasible.

Recording of Thomas Bjelkeborn's On yer nose. Instead of synthesizing a lot of material, one tiny concrete material is used as a starting point. From this the composer developed a series of sounds and transformations which they tried to keep close to the original sound and the behavior of that sound in its original context. Through various mixing processes borderline materials are created on the verge to more consistent contexts, but very much related to the original material and to what that material could cause in its original context.

Recording of Philippe Blanchard's Brasse Coulée. This is a piece for electronics written using traditional electro-acoustic techniques and sound samples.

My work is dedicated to the memory of Uncle Dalle, who died last year. Uncle Dalle, whose real name was Carl Gustav Wahlqvist, was my father's best friend, already from his earliest childhood. Uncle Dalle was born in Stockholm in the house next to ours where my father and I both were born. Then a day came when he also became one of my dear friends, especially after the death of my father. Uncle Dalle was a wonderful and cheerful person, he was extremely gifted in society and was always passionate about communication and discussion about everything and anything with anyone around him - from the diet method to food alive from Ann Wigmore until the last financial scandal. Under this pleasant surface hid a volcano which sometimes erupted. The person who happened to be the target of such an explosion was really in the heat of the moment. Uncle Dalle also wrote little songs, mostly about his friends in the Stockholm archipelago where he spent a lot of time. In some cases, I helped him with music notation because he couldn't read music himself. The compositional work began in a mode of great despair, where the futility of existence …

Recording of Jack Body's Barbe à Papa (Arum Manis). The original recording forms the basis of the tape and is the sound of a two stringed fiddle played by an Indonesian seller, recorded by the composer in 1977. Carrying the already made candy floss in a bin from his shoulder the seller played the fiddle to advertise presence. The music was both improvisation and sometimes recognizable tunes, and consisted of a melody.

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

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

Guest artist recital performed at the UNT College of Music.

Recording of Gabriel Brnčić's Vade Retro. This work is made up of five dialogues, which correspond to five differences of opinion on the same thing, follow one another and explore in a vision of current times the form of variation. They can be encounter according to the planned succession or one by one as isolated objects. The sounds were gathered using a sampler and pre-set sound effects.

Recording of William Brunson's Inside Pandora's Box. Formally, Inside Pandora's Box is an attempt to apply film/video editing concepts to the structure of music. Various scenarios are "set" complete with music, dialog and effects and are woven together. Equipment used: Yamaha DX7 II, TX802, TX81Z, Alesis HR16, Akai S1000, Yamaha SPX 1000 and DMP7, AMS RMX 16, Lexicon LXP1 and LXP5 with MRC, MCI JH600, Yamaha DMP7, Dyaxis and Technics DAT SV350 recorders; and Macintosh, MacMix, Sound Designer, Alchemy Performer, Opcode DX/TX editors for computer's and software.