Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Tragoidia 1) A dramatic or literary work depicting a protagonist engaged in a morally significal struggle ending in ruin or profound disappointment. 2) 2) Any dramatic, disastrous event. Komoidia : We now and now enter the region of a big guy who eats pies and does not lie in the sun but always tells the truth without shades. With his mephitic breath he sings for night watchmen who intrepidly become character traits as they watch him introduce the players. There are buzzards, there are children, there are musics, always accompanied by their mother who works at the borderline for the mentally accelerated. A magical disarray fills all space with its space, where Haydn melodies metamorphize into exotic modes as Dionysus rejoices in Bacchanalian rumpus. All is well.

Guest artist recital performed at the UNT College of Music.

Papalotl (from the Nahuatl word butterfly), started off as a revision of my previous work for piano and tape Luz Caterpillard. As the work evolved, I realised the piece was taking a completely different path from the one originally intended, and the result was an entirely new piece. My Papalotl is a toccata like, a tour de force for both pianist and its counterpart on tape. As in some of my previous works, the concerns are primarilly rhytmic and demand an extreme coordination between the two parts. Specially, Papalotl deals with continous metric modulation throughout its entirety by means of rhytmic patterns that are continously shifted to prevent resolution and thrust the movement in a constant forward direction. The sound sources are mainly "inside piano" sounds which were prerecorded and sampled on the Pairlight CMI. The textures were also acheived by means of similar rhythmic processes applied to the layering and attacks of the source sounds, and resampled as new objects. The piece was first performed by Shelag Sutherland in April 1987.

When asked to compose a piece for an all-Samuel Beckett concert in Los Angeles (including works by Cage, Dodge and Gnazzo), I determined not to act a text of the renowned existentialist writer but rather to sample his voice and manipulate the recording to formulate the substance of the music. Upon learning that Mr. Beckett does not permit his voice to be taped under any circumstances, I proceeded to record the lobby of his apartment building in Paris, the open-air Metro stop across the street, a sound poets' dinner later the same evening and two young girls watching a mime act at the plaza near the Centre Pompidou. Added to this were the bells of Notre-Dame Cathedral, the crying of a precocious baby, a sound sculpture, some extended-technique electric guitar sounds and a selection of sonic bodily functions. The result is an impressionistic cyclical narrative sound-portrait, touching on various aspects of Samuel Beckett's life. For a full description, please refer to "Pâte de Pas de Voix" in Perspectives of New Music, volume 26/s (Summer 1988). The treatment of ambient sounds was performed in the Synclavier studio of Henry Kaiser in Oakland, California. Most of the sounds originally were recorded by …

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

Recording of Jon Appleton's Hommage à Milanés. This short work of 5:OO is based on a phrase from a song "si el poeta eres tu ..." composed and sung by the great Cuban artist Pablo Milanés. This sentence appears in the middle of the work. The text is used with different reciters and with the original musical arrangements that convey in a variety of time and places that this song evokes to the composer. This work also suggests various political interpretations, none of which are desired by the composer. This music uses the voice of Marysa Navarro and Perico Irazoqui.

This work focuses mainly on the study of the various resonance times of percussion instruments, in a continuum idea from the longest resonances to the briefest ones. The rhythm follows a similar curve, starting from non-rhythm to an increasingly fast pace. Everything is built on a single rhythmic cell. The piece is for multiple percussion and tape.

Recording of Eduard Artemiev's Ode to the Bearer of Good News.

In El Infinito - in his presentation actuel - consists of four variations without theme extracted as lunar stones from a trip to the infinite musical possibilities offered by musical techology. Infinite microtonal, infinite timbres, infinite rhythms, nuances, ornaments, ... Each of these variations explores the immanent expressiveness of this material. In this regard, there is no structural calculation, but an intuition, an improvisation guided by the same material when revealing its expressive potentialities. The form of this work is also infinite, since variations can be added or subtracted without affecting its identity. Currently there are four variations completed but I am working on others. The idea is that each presentation of this work is different according to the variations that are chosen and their ordering.

Faculty recital performed at the UNT College of Music Recital Hall

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

Jazz Lecture Series presentation by Kenny Barron on March 24, 1987 at 9:30AM at the UNT College of Music. Includes lecture and performance by Kenny Barron, piano, interspersed with questions from the audience.

Jazz Lecture Series presentation by Kenny Barron on March 24, 1987 at 2:00PM at the UNT College of Music. Includes lecture and performance by Kenny Barron, piano, interspersed with questions from the audience.

Faculty recital performed at the UNT College of Music Recital Hall

Quartet Ambar is a piece entirely computed by a recursive composition algorithm that decides melodic, dynamic and rhythmic events, and is played by a Yamaha CX5MII microcomputer that controls a set of 8 Yamaha TF1 modules. It is built on a four-part structure that retrograde from half of the room to the end. The first of the parts is a set of "solos" with four voices on which the speech is expressed, then the second part serves as support for "duettos", the third one for "trios" and finally, the fourth one " quartet".

"Meteora" is a monastery located near Delphi and built on top of three huge blocks of stone that dramatically overhang a flat land elsewhere. "Meteora" was composed at the Stanford Computer Music and Acoustics Research Center (CCRMA).

Jazz Lecture Series presentation by Jerry Bergonzi on April 14, 1987 at 9:30AM at the UNT College of Music. Includes lecture and performance by Jerry Bergonzi, saxophone, interspersed with questions from the audience.

Jazz Lecture Series presentation by Jerry Bergonzi on April 14, 1987 at 2:00PM at the UNT College of Music. Includes lecture and performance by Jerry Bergonzi, saxophone, interspersed with questions from the audience.

Jazz Lecture Series presentation by Gene Bertoncini on March 10, 1987 at 2:00PM at the UNT College of Music. Includes lecture and performance by Gene Bertoncini, guitar, interspersed with questions from the audience.

Jazz Lecture Series presentation by Gene Bertoncini on March 10, 1987 at 9:30AM at the UNT College of Music. Includes lecture and performance by Gene Bertoncini, guitar, interspersed with questions from the audience.

Guest recital performed at the UNT College of Music

Recording of Thomas Bjelkeborn's Melquiades. "I started this composition as a study during the end of the composition course I took in the spring of 1987 at EMS/Stockholm. Now, it describes my experience of a newly found freedom, suddenly having real ways to express myself. This was done in a positive spirit where the exquisite sound and a sort of game are in the background. The music was finished in the summer of 1987 and it is a commission from my hometown Gävle for their annual electronic music festival." - Thomas Bjelkeborn, composer

Recording of Georges Boeuf's Les filles du sommeil. This work was inspired by several paintings by Gustav Klimt which depict women according to the expression, "sleeping beauty". The composer has segmented this work into 4 movements: 1. Pluie d'or, 2. Écran de Nuit, 3. L’œil Profond, 4. Éloge de l'Apparence. This work has been dedicated to Rapha'l de Vivo.