Sound recording of Oral History Association members conducting a business meeting.

Sound recording of an Oral History Association event titled "Wingspread Conference".

Sound recording of Oral History Association members conducting a council meeting.

Recording of Klaus Röder's Klangbild. The basis of this piece was a guitar improvisation. The tape with the recorded guitar sounds was cut at suitable points. The cut pieces were sorted and classified. So there were several small musical motifs which were instrumented afterwards by electronic means.

Recording of John Celona's Waveforms. The source material is the Pacific Ocean recorded with a portable Stellavox while standing knee-deep in breaking waves and following their peaks and cascades with microphones. The material was then mixed in a studio according procedures derived from Fibonacci series with followed from the sequence of wave patterns on the particular day the recording was made.

Recording of Yayoi Bito's Grotto Murmer. "In this work, I try to express the reverberation of water dripping in the silence of a cave" (statement from Bito). The reverberation of dripping water has transplanted me into an imaginary world. This piece was created at the Studio of Gakugei University in Tokyo.

Recording of Brenda Hutchinson's A Grandmother's Song for tape, in 5 parts: I. The Reunion II. The Peach III. Father IV. I Forgot V. Brother Day. This work was created at the Center for Music Experiment at the University of California in San Diego.

Recording of Arrigo Lora-Totino's Trio Prosodico. This work is modeled after a 'da camera' musical. There is no instrumental music. There is the natural melody of the diction, in three contemporary voices. All three voices are the composer.

Interview with Alena Mosley. Topics include the Hstory of Baytown, TX.

Recording of Martin Brinkerhoff's Jabara. Sound material consists of percussion sounds that have been manipulated by concrete methods: pitch and duration transposition, inversion, and mixing. The work is dedicated to percussionist Martin Jabara, who provided the basic sounds. The piece was realized at the Center for Music Experiment at California San Diego University.

Recording of Jonty Harrison's A Vent for oboe and tape, performed by Robin Canter, oboe. It is more accurately described as a tape piece with oboe since the tape carries the greater part of the musical argument and is never merely a background for an oboe solo. The necessity of breathing permeates the work.

Recording of Joaquin Orellana's "Rupestre en el futuro" for tape. Extra-musically, the piece is a "testimony of place" in a surrealist picture of a social situation, namely, the development of humans. The beginning of the piece uses phonemes in indigenous languages (Quiché, Tzutujil) and special instruments made by the composer to simulate the sounds of "a supposed primitive man."

Recording of Arrigo Lora-Totino's Trio Prosodico II. Poetry is spoken by Lora-Totino. The music of this piece is found in the "natural melody" of the diction and language.

Recording of Beatriz Ferreyra's "Echos" with vocals by Mercedes Cornu. The piece was made from the "destructuration" of four Latin American songs: two Argentinian and two Brazilian. Cornu uses a variety of vocal sounds (long and short sounds, breaths, coughs, etc.).

Recording of Maggi Payne's Lunar dusk. Performance is with four speakers accompanied by abstract slides. Composed at the Center for Contemporary Music at Mills College.

Recording of Krysztof Knittel and Andrzej Biezan's Polygamy for tape. The sound material was based on improvised playing on cans by Biezan and Knittel. The piece was realizes in the Experimental Studio of Polish Radio in 1979. It's premiere performance was at the Technische Universitat in West Berlin on February 1979.

Recording of Elżbieta Sikora's "Rapsodie pour la mort d'une république" ("Rhapsody for the Death of a Republic"). The world premiere was during a fragment of the ballet "Agranissement" at the Warsaw Chamber Opera in 1979.

Recording of Åke Parmerud's "Time's imaginary eye" for mezzo-soprano, tape and slide show controlled by computer. The mezzo-soprano part was composed from Swedish singer Kerstin Stahl. The piece was first performed at the Stockholm International Electronic Music Festival on September 3, 1979.

Recording of John Rimmer's Poi for tape. In the piece there are two groups of pitches - one conjunct, one disjunct - which interact with each other in various percussive and string-like timbres. The movement of the music suggests the whirl and glide of the "Poi", a small flax ball, which is a part of the popular Maosi dance of the same name.

Recording of Roland Willmann's Salve Regina. The Gregorian chorale Salve Regina was the point of departure of this work in that the composer tried to alter the original form but followed and supported it in a formal and expressive way using electronic sounds. The usage of the initial motif to the final corresponds to the cyclical form of the same chorale. The repetitive formula mentioned in the chorale is another structural element that were created in 3 echo recordings.

Recording of Daniel Arfib's Le souffle du doux. The gentleness is the wind, the wood, too. “Le souffle du doux” is a play on simple elements always harmonically connected, voluntarily limited to the point of view of the choice of the timbres, it is the relation between the Bottom and the Top (between the grave developing its harmonics and the acute blow), which the subject of this piece.

Recording of Shinʼichi Morita's Convergence and Divergence. “Since one year, I studied to compose by the sound of glass. And in this piece I mainly use the sound of spinning lens. The spinning lens gradually converges because of the gravitation. This sound makes rhythm of natural acceleration. And by reversion of tape the convergence changes to the divergence.” – Shin’ichi Morita, composer

Recording of Daniel Arfib's Le Souffle du Doux. Le souffle du Doux is a play on simple elements always put in harmonic relation voluntarily limited from the point of view of the choice of timbres, it is the relation between the Low and the High (between the low end developing its harmonics and the high notes blow) who the subject of this piece.

Recording of Anthony Holland's Sister kate, S. HZ. Originally written for clarinettist Jeffrey C. West, this work is intended as an abstrack work for clarinet and tape. The work recounts some of the sounds heard by two young "bohemian" musicians on their first trip to Paris, France around 1978. It also references a missed appointment with Nadia Boulanger.