Recording of Paul Berg's Six loaves to feed a family of five for a week

Recording of Pierre Bernard's Piano d'ombres

Recording of Charles Bestor's Variations

Recording of Stefan Beyst's Aguiro for tape.

Recording of Lars-Gunnar Bodin's Visions

Interview with Mrs. Clella Dennis, who discusses her life experiences and viewpoints.

Recording of Leif Brush's Intercepted Composition

Recording of Ton Bruynèl's Soft Song.

Recording of Svend Christiansen's Urvaerk.

The entire program for the jazz hour (second hour) of Music USA, broadcast February 27, 1974, including tune selections and an interview with Ruby Braff and George Barnes.

The entire program for the jazz hour (second hour) of Music USA, broadcast February 28, 1974, including tune selections and an interview with Ruby Braff and George Barnes.

The entire program for the jazz hour (second hour) of Music USA, dedicated to the memory of Duke Ellington.

Recording of John Edward Cousins's Anna. This piece is based on recordings made in 1974 at the ISME Research Seminar which took place at the Department of Music of the University of Canterbury. The subject of the seminar was Music and the Preschool-aged Child. Among the invited speakers were two specialists in the field of Musical Therapeutics. As an example of the power of musical sounds on an extremely retarded child, their article defends all therapeutic positive aspects inherent in musical nature. The composer tried to capture, by means of sound, the feeling of both joy and pain that the experience of music gives to a person, disabled or not.

Recording of Wolfgang Danzmayr's Monolith

Recording of James Dashow's Mappings. This piece is in three large sections, each of which explores a particular kind of texture by developing the composition or structural possibilities implied in the timbral relationships between the cello and the electronic sounds. At the same time, each section contains forward and/or backward references to later/earlier material. In the third section, the cello/tape integration is brought to its maximum by turning the solo instrument into what might be called a “prepared cello,” using paper clips to resemble an electronic ring modulation.

Recording of Gerardo Gandini's Los Proverbios. It contains the sounds of human voices only in a fairly simple and straightforward structure. The piece was the composer's first purely electroacoustic composition.

Recording of Lucien Goethals' Difonium. This is a work for bass clarinet and electronic tape. The relationship between the two sound materials highlights the instrumental virtuosity, with the nature of the tape forcing the instrumentalist to constantly have an extremely dynamic response.

Recording of Lily Greenham's Relativity

Recording of Dominique Guiot's L'Oiseau de paradis

Recording of Bengt Hambræus's Tides

The National Museum of the Pacific War presents a monologue of Thomas Handran-Smith. Smith served with the 2nd Field Artillery Regiment, Australia Imperial Forces. They participated in the Battle of Buna in New Guinea. He provides details of the living and fighting conditions through his time at Buna. He also comments on his American allies in the 32nd Infantry Division.

Recording of Ross Harris's Horizons. The original version of this work was commissioned by a New Zealander painter, Michael Smither, for the opening of a mural painting exhibition based on a series of skylines that employs varying degrees of abstraction on the theme of painting the horizon. Although commissioned for this occasion, "Horizons" reflects the simplicity and extent with which many New Zealand painters captured the landscape and this piece is simply a series of images slowly evolving into sound.

Recording of Loretta Jankowski's Strephanade. The piece makes extensive use of voltage-controlled equipment. It was entirely electronically generated and produced. Strephanade was realized at the Electronic Music Studio at the University of Michigan.

Recording of Jakob Jež's Stars II for electronic sounds. This is a work for electronics that includes the sound of highly manipulated vocals. This piece was created as a continuation of the composer's vocal/instrumental work "Stars' Look". The composer strove to find new nuances with the help of electronic procedures unattainable by traditional means.