Sound recording of a report on the Denton Chamber of Commerce, 1971.

Recording of John Gilliland interviewing Edgar Bergen for the Pop Chronicles radio program series. The interview begins in track 3 following unrelated material, and continues through track 6, followed by an apparent live performance by the Mills Brothers. This recording contains slurs or stereotyping directed at race, socioeconomic background, sexual orientation, or religion.

Interview with Bert Caha and son-in-law Nevin Black, where Bert Caha discussed his life experiences.

Sound recording of James Garman speaking during the 6th National Colloquium in Bloomington, Indiana about black liberation as part of a panel discussion on documenting and social change.

Sound recording of Richard B. Allen and Jack Hurley giving talks during the 6th Annual Oral History Association Colloquium.

Sound recording of William Moss giving a talk titled "The Future of Oral History" during the 5th Oral History Workshop in Jackson Hole, Wyoming.

Sound recording of Phyllis George, 1971 Miss America, speaking about her hometown of Denton, Texas for part of the Dynamic Denton promotional campaign.

Recording of Denis Lorrain's L'Angélus for clarinet and magnetic tape performed by Bernard Paluck, clarinet. This piece is of a fairly loose design, and uses natural passages of contrast or homogeneity between the magnetic tape and clarinet. Magnetic tape is made up of sounds electronic and concrete, including sounds coming from the clarinet itself. Development on two magnetic tape channels is opposed to the fixity of the interpreter situated between the two speakers. This recording was produced December 1971, at the Electronic Music Studio, McGill University in Montreal.

Recording of Denis Lorrain's L'Angélus. This piece is of a fairly free design and naturally exploits passages of contrast or homogeneity between the tape and clarinet. The tape is composed of electronic and concrete sounds, including sounds from the clarinet itself. The development on two channels of the tape is opposed to the fixity of the interpreter situated between the two speakers. In a live presentation, this piece tries to avoid clearly marking its chronological limits: the beginning is designed to merge with the applause following a previously performed piece, and one avoids a precise ending by making one final clarinet sound on the speakers after the exit of the clarinetist.

Sound recording of a panel discussion at the 7th Annual Oral History Colloquium held at the Thompson Conference Center Auditorium, University of Texas at Austin, Austin, Texas. The panel "Oral History Defined" is presented by Lyle Brown from the Dept. of Political Science, Baylor University, Eugenia Meyer, from the Instituto Nacional de Anthropologia e Historia, Mexico City. The panel “Oral History and Black Studies” is presented by Lawrence Goodwin from the Dept. of History, Duke University, Ann Allen Shockley from the Black Oral History Program, Fisk University.

Faculty recital performed at NTSU School of Music Recital Hall.

Recital presented at NTSU School of Music Recital Hall.

The National Museum of the Pacific War presents an interview with Allen Hugh. Hugh reads a series of letters dated 1907, when he was 21 years old, written to his mother while serving in the Navy. He speaks about schooling in the Navy and interactions with Chester Nimitz, whom he served with. He served as a deck and ordnance officer. He comments on traveling to Manila, Philippines, and his experiences hunting, swimming and touring the island. He served aboard the USS Wisconsin (BB-64), where he traveled to Nagasaki, Japan and Kuling, China. He speaks on visiting a Mr. McNally there and riding in sedan chairs with three other midshipmen. Hugh describes serving aboard the USS Decatur (DD-5) that Nimitz commanded in 1907.

Recording of Eugeniusz Rudnik's Divertimento. The composer's intention is that this composition should produce an effect in the sphere of musical expression, as well as - or perhaps above all - in the poetic sphere. The creative assumption is to hide from the listener the whole " technology " of music for magnetic tape, which, should be the means, not the aim. Another, perhaps the most important assumption is the simple but clearly outlined architectonics of the composition. From time to time the composer used advanced transformation of the sound material, but preserved respect for the extremely precious substance, the human voice. The material came from various, often incidental sources within their reach. This method of selection was not forced ; it was neither compromise nor resignation. The whole assemblage consists of particular " bits and pieces " which, in their primary, chaotic being, fascinated me by their specific, unique expression or beauty. The composer made an attempt to set in artistic order a fragment of the world of sounds in because of their profession. The composer built arranged structures, often breaking chosen elements in order to present their often unperceived values. As regards the material based on speech elements, …

Recording of Eugeniusz Rudnik's Divertimento. "My intention is that this composition should produce an effect in the sphere of musical expression, as well as - or perhaps above all - in the poetic sphere. My creative assumption is to hide from the listener the whole "technology" of music for magnetic tape, which, I presume, should be the means, not the aim. Another, perhaps the most important assumption, is the simple but clearly outlined architectonics of the composition. From time to time, I have used advanced transformation of the sound material, but I have done my best to preserve my respect for the extremely precious substance, the human voice. The material came from various, often incidental, sources within my reach. This method of selection was not forced; it was neither compromise nor resignation. The whole assemblage consists of particular "bits and pieces" which, in their primary chaotic being, fascinated me by their specific unique expression or beauty. So I made an attempt to set in artistic order a fragment of the world of sounds in which I remain because of my profession. I tried to build arranged structures, often breaking chosen elements in order to present their often-unperceived values. As regards …