Recording of Daniel Schachter's A 1. This piece uses traditional electronic technique and emphasizes on musical gestures. The sounds are mostly synthetically constructed and are heard throughout the piece.

Lecture given Monday, February 24, 1992, 8:30 AM at Abilene Christian University

Lecture given Monday, February 24, 1992, 11:00 AM at Abilene Christian University

Lecture given Monday, February 24, 1992, 3:30 PM at Abilene Christian University

Lecture given Tuesday, February 25, 1992, 3:30 PM at Abilene Christian University

Lecture given Tuesday, February 25, 1992, 8:30 AM at Abilene Christian University

Lecture given Tuesday, February 25, 1992, 11:00 AM at Abilene Christian University

Recording of Paul Geladi's 888: Acht minuten achter acht netten vissen. This work is for 8 mono soundtracks, supplied as 4 stereo pairs. The soundtracks are in finished form and should be mixed according to a set of instruction given by the composer, on an 8 channel mixer to stereo or quadro configuration loudspeakers. The piece is for live performance. The 8 mono tracks are to be reorganized in 2 groups of 3 and 5 tracks each and the tracks do not have to start synchronously, allowing for an incredible amount of performance interpretations.

Recording of Larry Austin's Accidents two: Sound projections. For piano and computer music. This work extends and substances the original compositional and real-time performance approach from an earlier work. There is an open form, invoking highly evolved improvisational formats and extends the musico-technical resources from the live electronics piece towards hypermedia and subsumes the actual sounds from the original work.

Lecture given Tuesday, February 25, 1992, 12:00 PM at Abilene Christian University

Recording of Milan Slavicky's Adventus. The main source of inspiration for this composition was a Czech liturgical tune from Renaissance times which used to be sung during Advent. Its unusual melodic form and great poetic quality inspired a bow-formed composition which uses mostly different vocal phrases of this song, an imitation of an organ sound and finally a tower bell transposed into lower and lower register.

Sound recording of (clip 1) a 1993 meeting about historical preservation in regards to an affordable housing program in the Houston Heights neighborhood in Houston, Texas; and (clip 2) a Texas Historical Commission conference in Houston on Saturday, April 25, 1992, titled: Beginning Program on Access to Historic Places -- Implementing the Americans with Disabilities Act.

Lecture given Tuesday, February 25, 1992, 3:30 PM at Abilene Christian University

Recording of Patricia Elizabeth Martínez's El alma al curepo. This piece is a for piano and tape. It is divided into three sections: Mirrors, modified or deformed reflections of two musical situations; Puzzle, a musical game; and Tout de suite aprs, a transitional section which end the piece. This work arises from a conceptual study on "the search for identity" which crystallizes in the various composition criteria of development in each section.

Recording of Roger Doyle's Alphabet. Electroacoustic composition utilizing low environmental sounds, more prominent electronic sounds in both fragmented and extended forms, and exploration of stereo effects for different sounds at certain points within the piece.

Recording of David Jaffé's American Miniatures. This piece features voice, percussion, mandolin, electronics, and various acoustic instruments.

Recording Jens Heldman and Erik Mikael's Anchorings / Arrows. This piece is based upon recording made from traditional instruments: clarinet, saxophones, cello, violin, trumpet, trombone, guitar, flute, and a mezzo-soprano voice. The sounds have all been subjected to different forms of computer transformations made with the VAX-11/750 at EMS and the AudioFrame Workstation at Diem.

Recording of Adrian Moore's ...And by his suggestion... This work uses traditional electronic technique to create futuristic sounding synthetically built sounds, along with manipulated voice.

Recording of Claudio Lluan Antiguas Preguntas ( Ancient Questions). This piece is for female voice, eight instrumental groups, and electronic chat. The piece is based on a fragment of a quencha hymn from which only the text has come down to us. The poem, is organized in questions, which describe the scheme of the Incas' cosmos.

Lecture given Monday, February 24, 1992, 11:00 AM at Abilene Christian University

Lecture given Tuesday, February 25, 1992, 11:00 AM at Abilene Christian University

Recording of Maggi Payne's Apparent horizon. This was an attempt to convey an aural impression of the sensations. Sound sources consisted of transmissions from/through space and were from Space Shuttle and Apollo missions, satellite transmissions, and shortwave radio broadcasts. Often the composer chose sections that were full of static and distortion - signals which were reaching unintelligibility. There are Morse Code "crickets" at Bryce Canyon and static "rain" at the Canyonlands. Processing includes heavy equalization, convolving, extreme sample rate conversions and time compression/expansion. This is the third piece in a series of pieces which are based on transformations of human-made or generated sounds, the previous two being Airwaves (realities) and Liquid Metal.

Recording of Emmanuel Madan's Aram Nal. Aram Nal is a popular Punjabi expression meaning "restfully, peacefully, without hurting". The piece is the product of two contrasting inspirations: firstly, the sound of Balinese Gamelan Gong Kebyar, and the passage between contrasting spaces. The crescendo throughout the piece is the form.

Recording of Ragnar Grippe's L'arbre égayé. The title, "L'arbre égayé," refers to "the cut tree," but the composer does stress that it also means "the reviving tree." This reference to a cut tree is intentional as a tie-in and homage to the composer's experience (20 years prior to the composition of this piece) at Groupe de Recherches Musicales de l'ORTF in Paris under the direction of Pierre Schaeffer. As Grippe explains: "This piece - without any overambitious zeals - is a hommage to the school, where I think I got my first real knowledge of electro-acoustic music. Why cut? A tree which has been cut, is not dead, but can now grow even more beautifully after it's been mended. I think that the composer somewhat always composes the same piece, only the refinement gets more and more articulate throughout the years." Regarding technical aspects, the sound sources - from Synclavier and MIDI-modules - are mostly custom-made, with an aim to get an electro-acoustic "object-sensitive" character, much in the philosophy of GRM. The piece is to a certain extent recorded with RSS (ROLAND SOUND SPACE), which the composer discusses as enabling the sources to exist in a virtual space, extended above …