Recording of Alfredo Marcano Adrianza's Dencias. “Dencias” was realized at the Laboratory of Electronic Music (CICMAT) of Buenos Aires. The work is conceived as a large surface of electronic sounds that appear and disappear in different harmonic combinations, on a resonant background of delicate character, formed by percussion sounds of instrumental origin. The slow, somewhat hypnotic unfolding of the work is sometimes interrupted by the violent appearance of fortissimo attacks.

Recording of José Vicente Asuar's Amanecer. “Amanecer” is formally a very simple work. Through this and other works, I try to project the possibilities of electroacoustic music in a sonorous universe where harmonic intervals prevail and a formal concept not far from impressionism. For a long time I experienced, as other composers have, new possibilities of sound and structure, matter and musical form, with electroacoustic sounds. I have not abandoned the search, but I want to choose some things in works that are simple and easy to listen to for any auditor. This is the reason of being of works like “Amanecer”: a break in the path of a creator. From a utilitarian point of view, “Amanecer” is thought of as music for ballet, as an introduction to some work of greater encouragement that is still to be written.

Recording of José Vicente Asuar's Amanecer. Amanecer is a formally very simple work. Through this and other works the composer projects the possibilities of electroacoustic music in a sound universe where harmonic intervals and a formal conceptualization not far from impressionism prevail. The rationale behind works like Amanecer is a break on the path of a creator. From a utilitarian point of view, Amanecer is intended as music for Ballet, as an introduction to some more breathtaking work that is yet to be written.

Recording of Bruno D'auzon's Par La Fenêtre Entrouverte. This piece, varying in articulation, draws its basic materials from the four types of sound sources generally used in electroacoustic composition (concert sounds, electronic sounds, musical instruments, human voice). The initial sampling however remains intentionally restricted within each of these categories (concrete: sustained percussions on a resonating body; electronic: three fixed frequencies, a glissando; instrument: string, isolated percussions and bow maintenance; voice: two sustained sounds , tonic and breath). The work of variation was therefore essentially situated at the level of studio manipulations. It consisted of a "transformation" of the basic materials in each of the sequences and even within them while keeping a permanence of "timbre" and causality. The articulation systems are provided by a permutation of shapes and melodic profiles between two or more initial objects as well as between their developments. The piece concludes, after a final isolated variation (very reduced in time and dynamics), in the progressive superposition of the hinge variations in abrupt sequences that come closer and closer then in a tutti crescendo .

Recording of Bruno d'Auzon's Par la fenêtre entrouverte, “After which I watched through the open window that the number of clouds does not come to exceed what I can grip in the loop of my arms.” This piece, of model variation articulation, draws its basic materials in the four types of sound sources generally used in the electroacoustic composition (concert sounds, electronic sounds, musical instruments, human voice). The initial sampling, however, remains voluntarily restricted within each of these categories (concrete: percussions maintained on a resonant body; electronic: three fixed frequencies, a glissando; instrument: string, isolated percussions and bow interview; voice: two sounds maintained, tonic and breath). The work of variation is essentially located at the level of the manipulations of studio. It consisted of a "transformation" of the basic materials in each of the sequences and even within them while maintaining a permanence of "timbre" and of causality. The articulation systems are provided by a permutation of forms and melodic profiles between two or more initial objects as well as between their developments The piece concludes, after a final isolated variation (very much reduced in time and dynamics), in the progressive superposition of the "hinge" variations in abrupt sequences more …

Audio recording of a cattle auction in Caldwell County.

Audio recording of a meeting of the Northside Community Center in Luling, Texas, with chairman R.A. Harrison. The meeting involves the Community Improvement and Home Development Organization. Recorded by Dee Azadian.

Audio recording of oral history with Ann Ellison. Interview conducted by Judith Eakin.

Audio recording of oral history with Annie Ellison. Interview conducted by Judith Eakin.

Audio recording of oral history with Antonio and Victoria Garcia.

Audio recording of oral history with Clarence Bloodworth. Interview conducted by Addison Downey.

Audio recording of oral history with Irene Harbert. Interview conducted by Sherry Scarborough.

Audio recording of oral history with James Chamberlain. Interview conducted by Stad Sitton.

Audio recording of oral history with Lula V. Byars. Interview conducted by Judith Eakin.

Audio recording of oral history with Lula V. Byars. Interview conducted by Judith Eakin.

Audio recording of oral history with Lula V. Byars. Interview conducted by Judith Eakin.

Audio recording of oral history with Marie C. Burton. Interview conducted by Sherry Scarborough.

Audio recording of oral history with Marie C. Burton. Interview conducted by Sherry Scarborough.

Audio recording of oral history with Marie C. Burton. Interview conducted by Sherry Scarborough.

Audio recording of oral history with Marie Denny. Interview conducted by Sherry Scarborough.

Audio recording of oral history with Marie Denny. Interview conducted by Sherry Scarborough.

Audio recording of oral history with Mary Eiband. Interview conducted by Judith Eakin.

Audio recording of oral history with Mary Eiband. Interview conducted by Judith Eakin.

Audio recording of oral history with Mary Eiband. Interview conducted by Judith Eakin.