"One at a Time Blues," featuring multiple soloists at the 1969 New Orleans Jazz Festival.

"Act of Openings" is a stereo composition made with Moog analog synthesis modules. Composed in 1968, its duration is 17'27. The score of the composition is a dense and modulated sound characterized by carefully controlled phase relationships. All the rhythmic and harmonic elements of the piece derive energy from a long, brilliant sound. Each part of the room is another glimpse of this sound, as a set of flowers form a bouquet. "Act of Openings" received the 2nd Prize at the 1969 Dartmouth International Electronic Music Competition.

Recording of Christian Clozier's En avant la zizique.

Recording of Gabriel 's Batucadas. This is a piece entirely composed with electronic sounds. It is an elaboration based on pulsations that occur at different speeds leaning towards density accumulation. Static, shrill and strongly aggressive material that overflows the interrupted background of pulsations. The work was composed in 1973, during the last year of existence of the Laboratory of the Latin-American Center of High Music Studies of the Torcuato Di Tella Institute.

Recording of Octavian Nemescu's "Concentric. A question with two answers." for instrumental ensemble and tape. The piece is a reaction to Charles Ives' "Unanswered Question," which is, in comparison, schizoid in nature, marked by breach, discord, disparity and incommunicability. There are three layered music layers in "Concentric" which join together to create a kind of communion that is timeless through the use of resonant harmonic issued by a fundamental sound C, placed in the deepest register, like a natural archetype (of a cosmic and supercosmic presence coming from the depths of existence).

Recording of Bogusław Schäffer's Concerto for tape.

Audio recording of Donald E. Chipman interviewing with Dan Reeves, John Niland, Ralph Neely, and Lee Roy Jordan.

Audio recording of Donald E. Chipman interviewing with Gil Brandt and Eileen (Gish) Hearn. Brandt served as the Dallas Cowboys' chief talent scout and helped pioneer many of the scouting techniques used by NFL clubs today. Eileen Hearn served as the executive secretary for the Dallas Cowboys.

Audio recording of Donald E. Chipman interviewing with Texas Earnest Schramm Jr. also known by Tex Schramm. Schramm was an American football executive who was the original president and general manager of the Dallas Cowboys franchise. Schramm passed away on July 15, 2003.

"This piece made in 1969 with extremely modest means was integrated in 1972 into a triptych, Assemblages, which accompanied an exhibition of "Volumes éclatés" by the sculptor Michel Anasse. It can be considered the third of my "presentable" studies. “Energies” was part of the material submitted in 1988 for the first "Magisterium" of the Bourges Competition, which was obtained. "

Recording of Rudolf Ružička's Gurges. The composer calls this piece a "space matrix composition." It was created on the strength of promulgation of international trial electronic and concrete composition "Musica nova." It was composed in Pilsener Electronic Laboratory in November 1969 .

Recording of Werner Kaegi's Hydeophonie I for 4-track tape. It was composed and realized in 1969 in the studios of the Institute of Sonology in Utrecht (Holland). The piece is based on the possibilities offered by a generator with a variable function which, at the time, preceded the digital computer. Kaegi's work is based on programmed and descriptive structures. All the musical material was generated in a purely synthetic way, all resembling the "reality" having come only from the musical structures.

Recording of Alain Savouret's Kiosque.

Recording of Alain Savouret's Kiosque. This piece was created for live instruments and stereo tape. It's imagining a situation: in the center of the kiosk, someone is playing the score of their existence. Like any concert in a square, it is disturbed, distorted by external manifestations, foreign to the score. But here, in this particular situation, it is musical actions, taken over by the instrumentalists of Opus 9, which will disturb, prevent or perhaps facilitate the performance of this score.

Recording of Christian Clozier's Lettre à une demoiselle. This piece uses music written on a newspaper, a sheet, in an attic, in view of an open window on an impassive river, at a flowery table, around two o'clock in the morning, in a low voice, in memory of the companions of the Pleiad. There are three movements: draft, erasures, and post Scriptum. This work also uses sound samples and recorded sound to allow for the poem to reach full expression and character.

Recording of Christian Clozier's Marché calme et irrégulier.

Recording of Vittorio Gelmetti's L'opéra abbandonata tace e volge la sua cavita verso l'estreno.

Recording of Eduardo Bértola's Penetraciones for tape.

John Fogerty and members of Creedence Clearwater Revival, interviewed in Los Angeles. John Gilliland used this recording for the Pop Chronicles radio program series.

George Harrison's comments on the Beatles' White Album. John Gilliland used this recording for the Pop Chronicles radio program series.

Excerpts of an interview with television personality Art Linkletter, which John Gilliland used in the Pop Chronicles radio program series. The interview, which focuses on drug use and popular culture, is dated from 1969. It appears to have occurred soon after the death of Linkletter's daughter, Diane, whose death he believed to have been caused by the use of LSD. The interview segments were made for broadcast, and are followed by a test tone and radio news announcement, more interview content, and a repeat of prior segments.

Audio segments related to performances by the comedy group The Credibility Gap in connection with the Pop Chronicles. The segments do not form a full program, the tracks apparently include material that was prerecorded for use in the assembly of a program, with some repetition from one track to the next.

Recording of Coriún Aharonián's Que, spoken text performed by Armando Halty. All of the sound material, besides the spoken text, is electronically generated sounds. It was composed between July and October 1969 and was realized in the Laboratorio de Moesica Electronica of the Centro Latinoamericano de Altos Estudios Musicales of the Instituto Torcuato Di Tella in Buenos Aires.

Recording of Hugh Davies' Shozyg 1 et 2,2. This work was created by reconstructing and modifying 4 instruments (an egg slicer, Aeolian harp, guitar string, and various springs) whose sound progresses from monophonic into stereophonic. The composer intends the piece to be performed with 4 speakers.