Recording of Luigi Ceccarelli's "Abominable A" for magnetic tape. The piece includes the voices of Kadigia Bove, Francesca Furlanetto, Eugenio Giordani, Luciano Martinis, Michela Mollia, Achille Perilli, Marina Poggi, Enrico Pulsoni, Giovanni Puma, Kerstin Riemer, Claudio Rufa, Stefano Scodanibbio, Gaetano Trusso, and Catherine Verwilgen. The piece contains a recitation of all the words in the Italian vocabulary that begin with the letter A, read in sequence from voices with different stamps, rhythms, and intonations. To these are added other sequences in French, German, and English. The work is divided into fifteen sections, each of which has a different criterion for processing the timbre, rhythm, and space. It was realized at the Electronic Laboratory for Experimental Music at the Conservatory "G. Rossini" in Pesaro from 1978 to 1980.

Recording of Sandra Tjepkema's Aubade.

Recording of Sandra L. Tjepkema's Aubade. This aubade, a serenade whispered into a lover’s ear, just before dawn: It is meant, of course, as a type of erotic poem; but it is not the text alone but the finished product which constitutes the poem. The words (in English) along with complementary phonetic signs and tremulous sighs, seek out the familiar images of love poetry. Phonetic variations on the vocabulary and the breathing of sleeping, dream-talking lovers, the more literal interpretation of such images as tides-on-the-beach, stirring of bedsheets, comforted nightmares, quick leave-fakings, whistling-in-the-dark: these are the elements of this serenade.

Recording of Charles Dodge's Cascando -- An Electronic Musicalization of the Radio Play by Samuel Beckett. The original play by Beckett concerns the attempts of the "Voice" to tell a story about a man named Woburn that will satisfy the "Opener," which would allow the "Voice" to remain silent from then on forever. When the "Voice" falters or the "Opener" grows tied of hearing him, music is heard. In Dodge's version the "Opener" is played by Sam Tsoutsouvas and the "Voice" is a computer-synthesized voice based on a reading by Steven Gilborn. The music was realized using the synthetic voice as a model for its pitch and noise events.

Recording of Lars Gunnar Bodin's Dedicate to you II. A text is fragmented by the equipment of the electronic music studio and then processed to form a model of semi-subconscious communication. The voice fragments are then processed and manipulated with electronics to create the granular synthesis like sound.

Recording of Michael McNabb's Dreamsong. It features a mixture of synthesized, digitally recorded and digitally processed sounds. These sound, along with the precision control of digital processing and mixing, result in an expressive sonic continuum ranging from unaltered real sounds to those that are totally imaginary. The melodic and harmonic structure provides the framework for continuous timbral and textural transformations. The work was done using digital synthesis, processing, and sound editing programs, programs developed at the Center for Computer Research in Music and Acoustic at Stanford University, and implemented on a PDF-10 computer. Many of the techniques that made the work possible were developed by the composer. The soprano is Marilyn Barber. It was one of six U.S. national winners in the 1978 National Composers Competition, sponsored by the League of Composers - International Society for Contemporary Music.

Handwritten program lists for Music USA, 1978-1981.

Recording of Mayako Kubo's Iterum Meditemur for trombone and tape. The tape was produced in the electronic music studio of the Hochschule für Musik in Wien. Included in the sounds of the tape are wind chimes, bells, and human voice which reads reports from a newspaper printed in 1941 in Columbus, Ohio USA. The text for the trombone player is from the Japanese author Kazumi Takahaschi, partially altered by the composer It was composed from September to November 1978 in Vienna.

The first part of the jazz hour (second hour) of Music USA, featuring the music of John Lewis.

The second part of the jazz hour (second hour) of Music USA, featuring the music of John Lewis.

The first part of the jazz hour (second hour) of Music USA, including tune selections and an interview with John Lewis.

The second part of the jazz hour (second hour) of Music USA, including tune selections. The interview occurs in Part I.

The first part of the jazz hour (second hour) of Music USA, including tune selections and an interview with John Lewis.

The second part of the jazz hour (second hour) of Music USA, including tune selections and an interview with John Lewis.

The first part of the jazz hour (second hour) of Music USA, including tune selections and an interview with John Lewis.

The second part of the jazz hour (second hour) of Music USA, including tune selections and an interview with John Lewis.

Recording of Andrew Bentley's Portrait. This work, composed for 3 groups of singers and tape, explores a range of vocal sounds stretching back from the musically familiar and traditional type of vocal production, known as "singing", through voiced and unvoiced sound production of several kings towards an abstract sound palette made possible by interactive combinations of electronic and vocal sounds heard from the tape. Because of the new significance which words take on when "set to music" in a traditional way, I took the alternative approach of re-composing the text (a poem by Gertrude Stein) as part of the musical events, fragmenting word and sound play, but leaving the more declamatory phrases intact.

Recording of Andrew Bentley's Portrait. This work composed for 3 groups of singers and tape, explores a range of vocal sounds stretching back from the musically familiar and traditional type of vocal production, know as "singing", through voiced and unvoiced sound production towards an abstract sound palette made possible by interactive combinations of electronic and vocal sounds heard from the tape. Because of the new significance which words take on when set to music in a traditional way. The composer took the alternative approach of re-composing the text (a poem by Gertrude Stein) as part of the musical events, fragmenting word and sound play but leaving the more declamatory phrases in tact.

Recording of Roger Doyle's Rapid eye movement. The title refers to the type of sleep called "Rapid Eye Movement" or REM, which is dream sleep. During REM sleep, the muscles of the eyes move as though the dreamer were watching something. Structurally, the work is conceived in the same way as Déjà vu occurs in life. There are 30 or 40 instances of mysterious familiarities of the same sounds placed in totally different contexts. Like the human cell, any extract from the composition will reveal the main elements comprising it - the part reflects the whole.

Fall/Spring performances program book from the 1977-1978 school year at the North Texas State University School of Music.

Student performances program book from the 1977-1978 school year at the North Texas State University School of Music.

Recording of Paul Lansky's "Six fantasies on a poem by Thomas Campion" performed by Hannah Mackey. It is a suite of computer synthesized studies of the reading of the poem "Sweet-cheeked Laura" by Thomas Campion. In this work, Lansky takes a single text, which was then read by his wife and frequent collaborator Hannah Mackay, and subjected it to a variety of aural manipulations. Each of the studies attempts to explicate different implicit musical aspects of the sound of speech. The effect of the different approaches should be to change the listener's perception and application of the musical senses of speech, particularly poetry reading.

Recording of Bengt Emil Johnson's Vittringar. “Time is our element. We live in time, with time. The leaves fall in autumn and join what has been – the stratum between life and death where breakdown and rebirth lie very close to one another… As in nature, as well as in that part of nature we call “art.” In the time-flow we call ‘now’ you and I stand – sensing the presence of what is new, emergent – and taking part, within ourselves, in the continuing process in which everything is breaking down. In Swedish, we have a word that has association with both these experiences that sometimes approach each other very closely. It is Vittring (scent/wither).” – Bengt Emil Johnson, composer Göran Rydberg transformed the rhythms of language, using different percussion instruments. Eugeniusz Rudnik gave it a careful and sensitive interpretation in the Polish Radio Experimental Studio.