Akha songs and narratives. Àbɔ́qɔ: sjhá daŋ daŋ ə, làq xhö́ thó ə Maeby 12/8-79

Akha songs and narratives. Continued from Side A. Àbɔ́qɔ: sjhá daŋ daŋ ə, làq xhö́ thó ə Maeby 12/8-79

Recording of Elżbieta Sikora's The waste land, for fixed media. The piece is a journey through time and spaces. The present is mixed with the past, the ordinary with the extraordinary, dream with reality. The work was commissioned by the Experimental Studio of Polish Radio and was realized in October 1979. The text comes from T. Elliot's poem "The Waste Land."

Recording of Klaus Röder's Mr Frankenstein's Babies for tape. The sound material consists only of voice sounds recorded by Röder himself. The sounds were worked out in an envelope shape and then copies upon the other so that there was a "chorus" sound.

Recording of Ross Harris's Echo performed by Mary Robbie, trumpet. The work is for solo trumpet and tape delay, which has the effect of producing "canonic echoes" of the solo voice. In concert performance, the two channels of delayed sound are to be placed outside the performance area, there by expanding the space, and the performer's sound appears to move out from the player and away into the distance. The piece was written for Mary Robbie, who performs it in this recording.

Sound recording of Richard G. Hewlett from the U.S. Department of Energy giving a talk during the 14th Annual National Colloquium on Oral History at the Oral History Institute, Murray State University.

Sound recording of R. Wayne Anderson giving a talk titled "Life and Times in Shoe City: Institutional Collaboration on the Working Class History of Lynn, Massachusetts" during the 14th National Workshop of Oral History at Murray State University in Murray, Kentucky.

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.

Sound recording of James V. Mink being interviewed by Bernard Galm about the history of the Oral History Association at Powell Library at UCLA in Los Angeles, California.

Sound recording of James V. Mink being interviewed by Bernard Galm about the history of the Oral History Association at Powell Library at UCLA in Los Angeles, California.

Sound recording of James V. Mink being interviewed by Bernard Galm about the history of the Oral History Association at Powell Library at UCLA in Los Angeles, California.

Sound recording of Jim Cavanaugh giving a talk titled "There Was Just No Beating Them: The Decline of Textile Workers Union of America" during the 14th National Workshop of Oral History at Murray State University in Murray, Kentucky.

Sound recording of Charles W. Morrissey giving a talk titled "Talk on the Accomplishments, Limitations, Status, and Potential of Oral History" during the 14th National Workshop of Oral History at the Oral History Institute, Murray State University.

Sound recording of Elizabeth I. Dixon being interviewed by Bernard Galm about the history of the Oral History Association on 1115 S. 14th Street #107 Santa Monica, California.

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.

The sound environment of the village today means a sort of mixture consisting of traditional melodies, sounds and noises of mechanic tools and machines, which do away with the wonderful sound environment that was created by farmers for centuries. Folk Rustle is in fact an association of folk music shown in today's shape. The structure of this composition is made of folk melodies, sounds, noises that are put together in the form of a free rondo. The theme is an old Hungarian folk melody in several articulations. The work was written in 1979, and performed for the first time at the 10. Music Biennale in Zagreb by its author on the Zitherphone.

Recording of Guido Baggiani's Senza Voci 2. This work is a piece in three parts. From a base material consisting of four sine waves, three groups of sine waves were derived. The frequency spectrum results from a process of amplitude modulation. There are two different levels of the same process. First level: frequencies belonging to the same group modulate each other. Such reports generate, for each group, four different "Group States". Second level: frequencies belonging to one group modulate another group. This is how the four groups relate to each other.

Recording of Eugeniusz Rudnik's Moulin Diabolique" ("Devilish Mill"). The work consists of six sequence that have their own dramatic, musical, and architectural meaning independent of the piece as a whole. The piece is based on military orders in different languages, as well as the sounds emitted by human groups (soldiers), which constitute the answer itself or accompany the answer that is required. The composer processes the sounds of the orders to deepen the grotesque and lugubrious character that these orders contain.

Recording of Arsène Souffriau's Fusar 3 for four mixed voices, four percussionist and two synthesizers. This piece is aleatoric music and is a collective improvisation by the performers. This recording of the collective improvisation took place on Thursday, September 1979 at around midnight. The interpreters were Viollette Beaujeant, Madeleine Fabrice, André Van Belle, and Arsène Souffriau. During the recording, each performer spoke, sang and manipulated various percussion instruments. Then, a selection was made and various sequences retained by Souffriau were reworked electro-acoustically. He then manipulated these sequences in order to create the stereophonic version presented here.

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.

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 Dale Deaton from the Frontier Nursing Service Oral History Project giving a talk titled "Midwifery and Family Nursing: The Frontier Nursing Service in the Kentucky Mountain" during the 14th Annual National Colloquium on Oral History at the Oral History Institute, Murray State University.

Sound recording of Alice Hoffman, Phillip A. Korth, and Philip P. Mason giving talks under the topic of "Oral History Contributions to Labor History" during the 14th National Workshop of Oral History at the Oral History Institute, Murray State University.

Sound recording of Harlon E. Joye, E. Barnerd West, and Dana F. White from the Living Atlanta Project giving a talk titled "The Etiquette of Race Relations" during the Buffalo 14th Annual National Colloquium on Oral History.