Sound recording of panelists at the Lone Star Sesquicentennial conference hosted by the University of Texas at Austin. Moderator: Archie McDonald; First panelist: Margaret Sweat Pinson; Second panelist: Daniel E. Fox; Third panelist: Dr. Marilyn McAdams Sibley, reading, "Lone Stars and State Gazettes: Texas Newspapers Before the Civil War." Side A ends in the middle of Pinson's lecture. Side B begins with Fox's presentation, and ends in the middle of Sibley's lecture.

Sound recording of Partners for Livable Places (Partners for Livable Communities) lecture with keynote speaker, Robert H. McNulty, founder, and president. Side A: audio cuts off mid-sentence. Side B: continued from side A - Robert McNulty lecture.

Sound recording of panelists at the Lone Star Sesquicentennial conference hosted by the University of Texas at Austin. First panelist: unknown; Second panelist: Robin Doughty, PhD. Clip 1 begins in the middle of the first presentation. Clip 2 ends in the middle of Doughty's lecture.

Sound recording of panelists at the Lone Star Sesquicentennial conference held by the University of Texas at Austin. First panelist: T.R. Fehrenbach, presenting, "The Texas Revolution in Perspective"; Second panelist: unknown. Fehrenbach's speech is cut off and the recording proceeds in the middle of the second presentation.

Sound recording of panelists at the Lone Star Sesquicentennial conference hosted by the University of Texas at Austin. First panelist: Margaret Sweat Pinson; Second panelist: James Pohl, reading, "Battles and Leaders of the Texas Revolution"; Third panelist: unknown; Fourth panelist: Dr. Marilyn McAdams Sibley, reading, "Lone Stars and State Gazettes: Texas Newspapers Before the Civil War." Clip 1 begins in the middle of Pinson's presentation and ends after Pohl's lecture. Clip 2 begins in the middle of an unknown presentation, and ends in the middle of Sibley's lecture.

Sound recording of Dr. Marilyn McAdams Sibley reading from, "Lone Stars and State Gazettes: Texas Newspapers Before the Civil War," at the Lone Star Sesquicentennial conference hosted by the University of Texas at Austin. Footage begins in the middle of Sibley's presentation.

Sound recording of Eunice Nelson speaking to Cross Timbers Genealogical Society, Monday, May 4, 1992. Side B: Speaker unknown. Writing on tape suggests it is Edw. Able, Jr., MPMA - 10/18/92; audio ends during the question and answer session.

Sound recording of Partners for Liveable Places Workshop: Archives (Partners for Livable Communities) lecture with keynote speaker, Robert H. McNulty, founder, and president. Lecture about what archives are and what their responsibilities to the community are; lecture does not start at the beginning. Side A: cuts off mid-lecture. Side B: lecture continued from side A. .

Sound recording of panelists at the Lone Star Sesquicentennial conference hosted by the University of Texas at Austin. First panelist: Robin Doughty, PhD; Second panelist: Frank de la Teja, PhD; Third panelist: Fane Downs, PhD; Moderator: T. R. Fehrenbach, author of the book "Lone Star", described as a historian who made Texas larger than life. Doughty gives a biographical account of an early pioneer frontierswoman; de la Teja discusses life in San Antonio in the 1820s; Downs discusses the role women played on the frontier, debunks the myths of the helpless heroine, the sturdy helpmate, and the bad woman. Side A starts in the middle of Doughty's presentation, and ends in the middle of Downs' presentation. Side B starts in the middle of a Q&A with the panelists.

JAC interview of Richard Rorty discussing social constructionism in relation to writing, philosophy, and rhetoric.

Audio cassette from The Black Academy of Arts and Letters recorded during an arts council meeting held on September 2nd, 1987. The audio on the tape is generally intelligible but overall covers summer activities and events that took place around Labor Day.

Audio recording of Steven Fromholz - Love Songs from Felicity Records; FR-007 c. 1988. Side 1: Lady's Man. Isla Mujeres. Solitude. I'd Have To Be Crazy. A Candle Burns. Side 2: Blue Would I Be. Cheatin' Home To Me. Making' My Getaway. Here's That Rany Day. Jane's House.

Audio cassette from The Black Academy of Arts and Letters recorded during their "Black Music and the Civil Rights Movement" concert recorded at Fair Park Music Hall on January 15th, 1984. The tape includes two tracks that are well recorded and includes speakers discussing Martin Luther King Jr. and the civil rights movement along with music by a large choir.

Audio cassette from The Black Academy of Arts and Letters recorded during their "Black Music and the Civil Rights Movement" concert recorded at Fair Park Music Hall on January 15th, 1984. The tape includes two tracks that are well recorded and includes speakers discussing Martin Luther King Jr. and the civil rights movement along with music by a large choir.

Audio reel from the Steven Fromholz Papers recorded Steve Fromholz's Love Songs at Wire Recordings.

The title of the composition is taken from a line by Cicero, "toto pectorum tremens" ("the whole breast trembling"). The main musical ideas in this piece are all related to the act of trembling as a response to some basic emotional state such as anticipation, fear, panic, exhaustion, etc. In order to expand the timbral palette of the pieced material, I have incorporated into the composition synthetic, unpitched sounds such as wind, breathing, and large, struck sheets of metal. During the course of the work the Bach choral melody "Was bist du doch, o Seele, so betrubet" appears. The harmonisation is mine and the choral setting is intentionally left incomplete. This composition was realised at CCRMA under an "artist-in-residence" gnat from the Rockefeller Foundation. The composer would like to thank Bill Schottstaedt for the use of his FM instrument, which was used to generate most of the sounds in this piece.

"Litanéa" is an anagram of Electroacoustic Litanies. An exaggerated desire for possession of articulated sound material (down to the microscopic level) is not without the risk of developing a rational, even scientific, mind. In music, this exaggeration leads to a state of mind that may dry up in his desire for absolute possession of the material. A certain part of the periodicity must be left to the music (which does not belong to the composer) otherwise the sound can not exist. Litanies are of all times and all countries, and if they have been a form of religious expression calming the mind, creating a self-hypnotism beneficial on the psychological level, it has become clear to apply this musical form to the new technology of electroacoustic music. What is the point of these phonemic and vocal sounds? Probably first the rhythm of words (this pseudo-periodic rhythm that we find in all music) in cycles, like the planets in their regular races in the universe, then the stamped value of these words ( the timbre that makes the man for the musician). Make me hear your voice and I will know who you are, or rather who you are not (in the …

Recording of Reinhard Lakomy's Die Himmelferhrt des Salvador Dalí.

The title is only a loose reference to the story in the Bible. What interests me about the story is the idea of a large mass of people knocking down a wall through the use of sound. The story gives credence to the notion of music as a catalyst for social change. Beyond the sheer physical impact that a large number of sounds contain, the music is a form of language which is capable of creating thoughts. The power of music lies in the simultaneous physical and intellectual seduction of the listener. In the composition, four hundred tracks of sound are often assembled to create the sense of a large mass. Three hundred and thirty-three tracks are created by dividing each of the seven octaves into fourty-eight notes. Brass, string, and wind instruments from the Western musical tradition and from other cultures are combined to create these textures. The remaining tracks are made up from the unpitched percussion instrument families. The working method allows each track to have its own identity in terms of frequency and tempo. The relationship between each individual layer and the mass effect can act as a metaphor for the relationship between the individual and society. …

This is the result of an exploration of writing in space, in this case for the speakers placed in an arc forming a sound screen of 150 'to 220' aperture. This piece is also the result of an exploration of electroacoustic writing. 6 movements the structure: 1. Opening, solatonic less than a minute. 2. Around rain, or shudder of a more neumatic writing. 3. Duo where the bottom engulfs the soloists to merge into the fourth movement. 4. Explosions, tears falling in tessitura. 5. Heart of music for percussion and synthetic choir 6. Coda, rain, oblivion ...

Recording of Jean-François Minjard's Petites Histoires Noires.

All durations and pitches have aleatoric (random) values. Only pitches and durations of the form are constructed by another system. The source Material is created by some frequency modulated Sinus generators. You can hear this material at the beginning with a crescendo. The basic form is created directly out of this material by using two kinds of technique: 1. Subtraction (Filter) 2. Addition of filtered Material 3. Transposing and adding the new Transpositions. All of the structures of this piece are created by using these 3 techniques in concrete (the 3 transpositions of the basic form) or an abstract way (look to the upper line of the partitur). The concrete way: The basic form uses 3 types of filtration high (in the area of 5000 Hz: a), middle (between 500 and 800 Hz: b), low (in the area of 200 Hz: c). The basic form is created in this way: source material 30sec; 1a: 50sec; 1b: 30sec; 1c: 60sec; 2: 10sec 2+1: 40sec; 3: 20sec 3+1: 70sec. This form is used in 0.5 and 1.1 Transposition and 1.6 retrograde Transposition. This 3 Forms are positioned in that way, that they could culminate in the Transposition (look point 3) This construction …

At 12, French, of Russian origin, Jewish, I could carry my head up, believing myself protected from the shame of belonging to the camp of the executioners. At fifty, I have the bitterness of not having this good conscience. And the poor consolation of thinking that it would have been the same, if I had been born elsewhere, earlier, later ... The Twelve, this magnificent poem by Alexander Blok, written in January 1918 to testify of the Revolution (guided by Jesus Khristos -invisible-) is only a pretext. A necessary pretext, indispensable, as much by the beauty of the text as by what it implies. Around this rock, fragments of other masterpieces, but also unknown poems, unpublished poems, words. And the use of these languages, all beautiful when they are intended to love, to understand, unfortunately to hate too ... "The Twelve", like many of my electroacoustic works, is an oratorio made from recordings of natural elements (voices, instruments), numerous montages, innumerable mixes. This is not just a technique that I chose very early to make mine, but a specific approach to composition, allowing for both the voice and the instruments, the use both controllable and directed by a superposition of …

Recording of Juraj Ďuriš' Prortet.