Concertino Marcel Duchamp is a losing entry in the Paris New Music Review's One Minute Piano Composition Contest. There's no piano part.

Otto Luening's music, like his life, spans the century. Luening was born in Milwaukee, Wisconsin, June 15, 1900, played the flute, and was trained in Europe where he studied composition with Ferruccio Busoni and Philipp Jarnach. In the U. S. he conducted new operas, taught several generations of young American composers, pioneered the new art of tape and electronic music, and composed a major catalogue of music in styles ranging from traditional to experimental.

When Luening was twelve, his formal education ended with the seventh grade and his family settled in Munich where he studied at the Akademie der Tonkunst. When the United States entered World War I, he was exiled to Switzerland and studied in Zurich where he made his debut as a performer, conductor and composer. In 1920 Luening returned to the United States, composing, performing and teaching successively in Chicago, at the Eastman School of Music in Rochester, the University of Arizona in Tucson, Bennington College in Vermont, and Barnard College, Columbia University and The Juilliard School in New York City. In the early 1950s, working with Vladimir Ussachevsky at Columbia, he began a series of experiments and compositions using the new medium of tape and electronic music, some of the earliest work of its kind in the world; in 1959, he cofounded and codirected the Columbia-Princeton Electronic Music Center. He has also been active in the founding and direction of the American Music Center, American Composers Alliance and Composers Recordings, Inc. Luening's autobiography, The Odyssey of an American Composer, was published in 1980.

Although he is probably best known for his tape and electronic music, much of his output consists of solo and chamber music for traditional instrumental combinations. There are more than 40 orchestral works, 50 songs, the opera Evangeline, the oratorio No Jerusalem But This, and music for plays. The threads that run through the almost mind-boggling diversity of Luening's work are the solidity of his knowledge and technique, his use of a harmonic practice derived from the overtones of the harmonic series, and, above all, the strength of his wit. A dry and sophisticated humor is an important part of Luening's personality and a strong component of his teaching technique; it is also a major and often overlooked quality of his music. Only Otto Luening could end a relentlessly and almost comically surreal serial piece with a blazing C major chord.

Low Speed was premiered at the October 28, 1952 concert at the Museum of Modern Art in New York which is considered the first all electronic music concert in the U.S., and served as an inspirational catalyst for a number of composers who would be involved with creating electronic music. For Low Speed, Luening made sketches on which he based his flute improvisations. He transposed the first recording an octave lower, and successive versions each a fifth higher than the initial recording. Feedback produced a kind of unearthly, ghostly counterpart of the live flute. A rather solemn mood is established.

Robin Julian Heifetz received his doctorate from the University of Illinois. He served as a composer-in-residence at EMS Stockholm, Colgate University, Simon Fraser University, Tel-Aviv University and IPEM-Gent. He was the director of the Center for Experimental Music at the Hebrew University of Jerusalum, Isreal. His most recent electro-acoustic works appear on Volumes 2 and 5 of the Electroshock Records in Moscow, Russia

Slings and Arrows II explores the historical relationship between the early goverment of the USA and American Indians. Historically, the army wrenched away lands from its people, enslaved large numbers of them and, as a matter of formal government policy, obliterated entire tribes through the distribution of cholera- and smallpox- infected clothing and blankets. Although this work is not programmatic, its essential spirit is to enable the listener to fantasize about Indians' ability to recover a semblance of tribal strength and seek vengeance against the enemy.

Kristi McGarity is a graduate student in music composition with a background in both acoustic and electronic media. She earned a degree in oboe performance at the University of Michigan, and has since returned to her hometown of Austin to seek a Master of Music degree from the University of Texas, where she studies composition with Russell Pinkston and Donald Grantham. She free-lances as a performing oboist and plays with the UT New Music Ensemble under the direction of Dan Welcher. Her teaching experience includes electronic music classes at Austin Community College and a full studio of oboe students.

Tech Support (1998) is a musical poem set to the sounds of various office machines. The narrator in this recording is Craig Clark, with additional voices by Carlos Barrón and Kristi McGarity.

David Guerrero is a music studies student at UTSA. This is his fourth semester in electronic composition with Dr. David Heuser.

Three samples were collected then manipulated in a digital domain using SoundEdit and ProTools. Each sample is an indigenous/ethnic instrument. The vocal line is an excerpt from a West African folk song. The name Ekundayo is African for sadness becomes joy

Larisa Montanaro (b. 1972) is a doctoral student at the University of Texas at Austin, where she studies electronic composition with Russell Pinkston. Her first compositions were composed using analog equipment and cut-and-splice techniques. As a result, her new music retains the technique of musique concrète, but uses digital means. She is inspired by collaboration with other artists and is currently working with Austin choreographer, Yacov Sharir, and Seattle artist and videographer Alicia Berger.

In addition to being a composer, Larisa is also a singer. She specializes in New Music, although she also performs song/vocal literature from the 12th Century through the 19th Century. She feels very strongly that the music being written today must be heard. As a result, she has premiered the works of many emerging composers and always welcomes new scores for performance. For her dissertation she is compiling a list of works for voice and tape in order to enable singers to approach this genre more easily.

October brings swarms of beautiful butterflies - the total saturation is overwhelming. But within a week, they're gone. Like Butterflies in October is a sensual song about the passing of a love affair.

Moonflight is in four sections and might be considered an aria for the flute. After introducing the flute in the first section, Luening uses ascending and descending arpeggios in the second section. One is carried gently onwards, and eventually an unmanipulated flute in the foreground "sings" a simple (yet wholly original) American "folk-tune." The ascending and descending arpeggios end this dreamy piece.

David Heuser (b. 1966) received his bachelor's degree in composition from the Eastman School of Music and his doctorate from Indiana University. His teachers include Samuel Adler, Claude Baker, Joseph Schwantner, David Liptak, Warren Benson, Frederick Fox, Wayne Peterson and Don Freund, as well as Jeffrey Hass in electronic music. He teaches theory and composition courses and runs the electronic music studio at the University of Texas at San Antonio. Before coming to UTSA he taught at West Chester University (PA) and Temple University. Heuser has won various awards, grants and commissions and his music has been performed here and there. He is currently working on a commission for the SOLI Chamber Ensemble. Heuser's music is published by Carl Fischer, Inc. and Non Sequitur Music.

The Homage is intended to eventually cover many serious, and not so serious, topics introduced by the writer/director Edward J. Wood in the movie most often voted the worst film of all time. Personally, I loved it.