Recording of Richard Zvonar's 3 for 5 for percussion, performed by Daryl Pratt. The piece is divided into three movements, with a different set of instruments for each. These are set up in three locations, which form an arc left to right across the performance area. Four playback speakers are situated beside and between the three playing locations. The tape sounds are entirely derived from recorded sounds of the percussion instruments. Throughout the piece, the live and recorded sounds continuously diverge as the piece progresses until at the end, the original sounds have been greatly expanded and enriched through speed transposition, mixing, filtering, etc.

Recording of Barry Truax's Aerial for solo amplified horn and four computer-synthesized soundtracks performed by Steven Field. Aerial is characterized by an interplay between the solo instrument and the taped sounds in terms of complementary and contrasting sound colors. It attempts a close blending of the horn with the tape, not only in terms of timbre, but also with frequent pitch references, similar rhythms and quadraphonic spatial amplification. The horn is not intended to be heard as a 'solo' voice, but rather as an integral element of a complete environment, sometimes leading, sometimes following, and in the final section, gliding effortlessly on its currents as suggested by the title. The piece is closely related to part II of the composer's Love Songs for voice and tape, and evokes the sense of landscape, mountains, clouds, and lakes as related to the love imagery found in that piece. The work is also inspired by a comment of John Cage that "in landscape there are no inherent contradictions." The work was written for and is dedicated to James MacDonald. Both the tape and live part were realized with the composer's POD6 and POD7 programs for computer sound synthesis and composition at Simon Fraser …

Recording of Tamas UNgvary's Akonel no. 3. As per the composer, there is no program note for this piece. It is intended to be used for listening purposes only.

Recording of Tamas Ungvary's Akonel Number 3.

Recording of Scott Wyatt's "All for One" for solo percussion with electro-acoustic music performed by Thomas Siwe, percussionist. The piece was composed for a unique arrangement of percussion instruments and loudspeakers within the performance area, creating a large sound sculpture. "All for One" was written for and dedicated to percussionist Tom Siwe. It was awarded the 1984 CIME grand prize at the 12th International Electroacoustic Music Competition in Bourges, France.

Sound recording of Jo Blatti giving a talk titled "The American Dream; The Success Ethic" during the 14th Annual National Colloquium on Oral History at State University of New York, Buffalo, NY. Michael Frisch is the moderator and commentator during the talk.

Recording of Jean Piché's Ange for tape or radio performance. It is a timbral work in which the main goal is the total acoustic mixing of natural and synthetic sound material. In addition to the synthetic sounds that are created through a digital synthesizer, four voices - two men, two women - are introduced in the final mix and are hardly distinguishable from the synthetic sounds.

Recording of Takehito Shimazu's Apostagie. This work is only composed with sine waves. This is one of Shimazu's conclusions for the pursuit of topological form. The piece was created at the Berlin Studio (FRG).

Sound recording of Arthur M. Schlesinger, Jr. and Albert Schweitzer speaking during the 14th Annual National Colloquium on Oral History at the Oral History Institute, Murray State University.

Recording of Jozef Malovec's B-A-C-H. The following materials are used in this composition: with a determined certain tone pitch such as succession of tones B-A-C-H at different pitches and transformations, two citations from the work of J. S. Bach realized on the synthesizer ARP plus the play-back of alto recorder/cantus firmus of the second--complete citation, slowed formants of the vowels in the introduction, with undetermined tone pitch such as noises and short impulsed formations at a different speed of the tape.

Recording of Jozef Malovec's B-A-C-H. The following materials are used in this composition: 1. A. Succession of tones B-A-C-H at a different pitches and transformations B. two citations from the work of J.S. Bach realized on the synthesizer ARP plus the play-back of alto recorder/cantus firmus of the second – complete citation C. slowed formants of the vowels in the introduction D. slowed beats on the crotales in the culminations point of the introduction 2. With undetermined tone pitch such as noises and short impulse formations at a different speed of the tape. These two contrast material levels create tension and by emphasizing one or the other level they form the musical pulsation of the composition.

Sound recording of Ronald C. Larson giving a talk titled "Before Silent Spring; An Oral History of Western Forest Entomology", and Mark Walter giving a talk titled "Location and Mapping of Fish Spawning Grounds in the Greater Lakes Via Oral History" during the 14th National Colloquium on Oral History at the Oral History Institute, Murray State University. The talks are moderated by William R. Wyatt.

Recording of Takehito Shimazu's Beginning of the Spring.

Recording of Rick Banks's Betsy, which is based on a story created by the composer. The computer program by which the piece is created emits sounds that Banks calls "Betsy" and Betsy's labels describe herself. "Betsy Butterfield didn't like counting nifty numbers so instead she tried jumping galaxies and times but soon found it was some different kind of goddess than her that never knew the suns."

Sound recording of Detlev Peukert giving a talk titled "Between Nazism and the Economic Miracle: Coal Miners and the Ruhr District in the 1930's and then 1940's" during the 14th Annual National Colloquium on Oral History At the Oral History Institute, Murray State University.

Recording of Michel Lontin's A bientôt elfes, trolls et lutins.

Audio cassette from The Black Academy of Arts and Letters recorded during a book party and associated performance. Track one records the performers and the second the book talk with people talking indistinctly.

Audio cassette from The Black Academy of Arts and Letters recorded during a book party and associated performance. The tape has one track that includes semi-clear dialogue that concludes with a choir singing.

Audio recording sent by pianist and trombonist Brad Stroud to Leon Breeden following a visit to North Texas. The recording includes spoken segments from Stroud, as well as recordings of his performances, including Stroud's composition ("Listen to My Father") introduced by Kenton and played by Kenton's band, and a performance from one of Kenton's band clinics. The reference to Steve Wilkerson winning on the Gong Show dates the recording to around 1979.

Sound recording of Betty Balanoff giving a talk titled "Chicago Labor History" under the topic of "Working People and Workers' Unions" during the 14th National Workshop of Oral History at the University of Michigan. Commentary during the talk is provided by Bob Repas, and Joyce Kornbluth is the moderator.

Recording of John Melby's "Chor der Steine" ("Chorus of Stones"). It was composed on a commission in 1979 for the Twentieth Anniversary Celebration of the Experimental Music Studios at the University of Illinois at Urbana-Champaign and was first played at a concert there in the spring of that year. The work was produced on a large IBM mainframe computer, using the MUSIC 360 language for digital sound synthesis. "Chor der Steine" takes its name from the title of a poem by the Nobel Prize-winning poet Nelly Sachs. "Chor der Steine" is published by Merion Music, Inc. (Theodore Presser Company). The work was awarded First Prize at the 1979 International Electroacoustic Music Awards, Bourges, France.

Sound recording of E. Culpepper Clark giving a talk titled "Communication in the Oral History Review: Investigating the Problems of Interpreting Oral Data" during the 14th Annual National Colloquium on Oral History at the Oral History Institute, Murray, Kentucky. Ronald J. Grele is the moderator for the talk.

Sound recording of Charles R. Knerr giving a talk titled "Confidentiality: Privacy and the Law" during the 14th Annual National Colloquium on Oral History at the Oral History Institute, Murray State University. The talk was given during a panel on legal and ethical responsibilities in the protection of historical sources. The moderator for the talk is Hubert. D. Humphreys.

Recording of Shin'ichi Morita's Convergence and Divergence. This piece was made using the sound of spinning lens. The spinning lens gradually converges on account of gravitation. This sound makes rhythm of natural acceleration. And by reversion of tape, the convergence changes to divergence.