Akha songs and narratives. Continued from Side A. 0-19 Àbɔ́qɔ: lɔ̀-khàŋ mə́; 19-30 buying and selling; 30-42 various stories; 42-[end] shà iq iq ə at wedding. 14/2-78

Akha songs and narratives. 0-19 Àbɔ́qɔ: lɔ̀-khàŋ mə́; 19-30 buying and selling; 30-42 various stories; 42-[end] shà iq iq ə at wedding. 14/2-78

Akha songs and narratives. Continued from Side A. 0-43 Àbɔ́qɔ: Answering questions on funeral; 43-50 Àbɔ́qɔ: Hunting; 50-65 Àbɔ́qɔ: Marriage

Akha songs and narratives. 0-2 Àbɔ́qɔ: letjhɔ̀bìqədɔ̀; 2-[end] Àbɔ́qɔ: Answering questions on funeral. 10/2-78

Akha songs and narratives. Continued from Side A. Mì-jàq et. al: khýdə́gy 6/1-78

Akha songs and narratives. Mì-jàq et. al: khýdə́gy 6/1-78

Akha songs and narratives. 0-18 Àbɔ́qɔ: qá tháŋ phá ə qá-kɔq; 18-29 Àbɔ́qɔ: àkhà ə djáq-gà; 29-48 songs at dɛ-xhàŋ. 5/1-78. 48 shon x́ hɔ̀ xhə o at death; 50-end Àbɔ́qɔ: tshɔ́ ŋö ŋö ə́ (for his wife)

Akha songs and narratives. 0-10 Mì-lu: tshɔ́ ŋö ŋö ə́ ; 10-20 Ásɔ̀q: Humans and spirits; 20-21 Ásɔ̀q: mádɛ daó ə̀ qá-kɔq' 21-22 Ásɔ̀q: ə lə bì ə dɔ̀-khɔ̀, jà nɛ̀ bì ədɔ̀-khɔ̀; 22-30 Ásɔ̀q: àgö. 28/2-78

Akha songs and narratives. 0-51 Àbɔ́qɔ: On Akha; 51-end Àbɔ́qɔ: on Thá-hà's marriage. 4/2-78

Recording of Ákos Rozman's Images of the dream and death. The intention of this piece is to musically portray good and evil. Rózmann worked with musical motives resembling sounds and phenomena in our environment that represent forces and feelings, composing according to traditional Western style (i.e. the dialectic form of the sonata or the repetition and change of the variation).

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.

Audio reel from the Steven Fromholz Papers, Steve Fromholz, Tape II, Swingin' Door recorded on a 7" Reel. Track list includes: "1. Crying in the Rain 2. Catity's Clown (Dan+Phil) 3. Walk Right Back (Sonny Curtis) 4. Lucille (Little Richard) 5. So Sad (Dan) 6. Muskrat 7. Temptation 8. Love Hurts (Boudleaux Bryant) 9. Be Bop a Lula 10. When Will I be Loved (Phil_ 11. Bird Dog (Boudleaux Bryant)

Audio reel from the Steven Fromholz Papers Fromholz' Possibilities recorded on Maxell 35-90 Sound Recording Tape. Includes SIDE ONE: 1) Pillars of the Temple, 2) Sun and Moon and Stars, 3) Slowly, 4) Last Dance, 5) I've Never Made Love..., 6) Write Your Momma..., 7) Rest Area Waltz, 8) Hearts and Flowers and Swan Song, 9) The Angel, 10) Mexican Waltz, 11) Lovin' Friend, 12) Hold On, 13) Janey's Favorite Tune. SIDE TWO: 1) Don't You Look For Me When I'm Gone, 2) Stoned Again, 3) Everybody's Goin' on the Road, 4) Buzzard Blues, 5) Cowtown, 6) Make the Neon Lights Still Shine, 7) Mildred Sin, 8) Rambler and a Gambler, 9) Because He's Jesus, 10) Sweet Janey, 11) Road to Kentucky, 12) Birds and Wolverines, 13) Magic Princess with Chopped End.

Audio cassette from The Black Academy of Arts and Letters recorded over the weekend of October 13-14th 1978 at the "One In Mission: The Relationships of the Black Church and the Arts" conference. The tape includes two sides of audio. Side A: Dr. Mims & Roger Boykin on Friday 10/13/78 and Cut McKnight & King on 10/14/78 afternoon. Side B: Roger Boykin 10/13/78.

Audio cassette from The Black Academy of Arts and Letters recorded during on Sunday of the "One In Mission: The Relationships of the Black Church and the Arts" conference. The tape includes two sides of audio. Side A covers the beginning program and side B covers the general assembly.

Audio cassette from The Black Academy of Arts and Letters recorded on October 14th 1978 at the "One In Mission: The Relationships of the Black Church and the Arts" conference. The tape covers the end of Beah Richards one women show "Black Woman Speaks".

Audio cassette from The Black Academy of Arts and Letters recorded during the Mount Olive Baptist Church young adult choir musical performance in July of 1978. The tape includes two tracks of the audio of the performance. The audio is fairly well recorded with fluttering throughout.

Audio cassette from The Black Academy of Arts and Letters recorded during on the second day of the Beah Richards workshop at the "One In Mission" A Convocation on the Relationship of the Black Church and the Arts event. Beulah Elizabeth Richardson professionally as Beah Richards, was an American actress on stage, screen, and television. The audio quality is very low and it is hard to hear what Beah Richards is saying in the beginning, audio at some points will be loud with workshop attendees laughing.

Audio cassette from The Black Academy of Arts and Letters recorded during the "One in Mission" arts convocation workshop held on October 13-14, 1978 at the Crestmoore United Methodist Church and hosting actress Beah Richards and Denton poet B. F. Maiz. The audio tape includes two track of audio.

Audio cassette from The Black Academy of Arts and Letters recorded during the "One in Mission" arts convocation workshop held on October 13-14, 1978 at the Crestmoore United Methodist Church and hosting actress Beah Richards and Denton poet B. F. Maiz. The audio tape includes one track of audio.

Recording of László Király's Adieu a Terez. The sound materials of the composition were comprised of modulate female voice with diverse electronic mediums.

Recording of Jonty Harrison's Pair/Impair.

Recording of Frank Royon Le Mée's Complies, Pour un Lendemain de Fête. Extracts from the three great hours of the office for a day after a holiday. For voice, processing device, tape, analog synthesizers. The vocal sequences have been developed and are sung by the composer. For compline, techniques used, song with harmonic (2 voices), Tibetan song.

Recording of Francis Dhomont's Mais Laisserons Nous Mourir Arianna? performed by soprano, Marthe Forget. Several polemics underlie and articulate the piece: opposition, between two types of time: plethoric time (very rich in information, exploding in groups and cells of discrete micro-elements) and fixed time (frames--slow and continuous evolutions), contrasts between the mobility in flight ((in the range, dynamics, etc.) of areas fixed in relation to each other - lightning paths, fractures of the continuum - and the permanence of the voice (that of which the 'origin remains unequivocal), dialectic between the increasing precipitation of disturbing events (until the explosion around the 11th minute) and their rapid disappearance until the coda, a sort of anamorphic resumption/response of the slow progression which preceded, and finally: conflict (mortal?) Between this Arianna which evokes another lament and confused with a famous lasciatemi morire and the implacable proliferation of an entomological universe.