The National Museum of the Pacific War presents an oral interview with Alton Warner about his experiences leading up to and during the attack on Pearl Harbor.

Audio recording from December 6, 1980, titled Richardson and Chapple, Washington D.C. This recording was conducted by UNT history professor Lawrence C. Kelly. The recordings concern Kelly's anthropological research and the research of his peers on Native American communities during The Great Depression.

Audio cassette from The Black Academy of Arts and Letters recorded during a gospel choir concert June 28th, 1980. The tape includes two tracks of audio that lack presence and have distortion throughout. Music can be heard indistinctly.

Audio cassette from The Black Academy of Arts and Letters recorded during the Second Annual Medal of Merit Awards Banquet held on May 31, 1980 at the Downtown Dallas Sheraton Hotel. The tape includes two tracks of intelligible audio of individuals speaking broken up by periods of applause.

Speech made by Wanda Orton to the Bay Area Heritage Society discussing Texas heroes that had lived in the Baytown area dating back to the time before the Texas Revolution, such as David G. Burnet, Sam Houston, etc.

Interview with Virginia Moreno, a resident of Baytown, Texas since approximately 1920. Topics include history of Zamora and Moreno families, family history in early Texas and Baytown, courtship of Virginia and Joe Moreno, segregated schools in Baytown, Texas Rangers,Mexican citizens support of Texans against Santa Anna, and founding of Cuahutemoc

Transcript of an oral monologue with Hal Lamar. He reflects on Fleet Admiral Chester W. Nimitz during his time serving as the Admiral's personal aide and secretary. He describes Nimitz's character and abilities as a leader. Lamar shares anecdotes about visiting wounded men and awarding Purple Heart medals, other officers coming to call, recreating, visiting Tarawa ,and activities at the new headquarters on Guam.

Recording of Sten Hanson's 96. "According to Amnesty International, there are 96 countries in the world that have political prisoners. In most of these countries, there is clearly physical or mental torture that is punishable by law and unlawful killings." Sound material includes sounds of doors shutting, locks locking, bells, ringing, etc.

Recording William Ortiz's 124 E 170th St. (for electronic tape, narrator, and percussion). It is a mixed electroacoustic work depicting the Puerto Rican urban experiences the United States: the struggle against the agony of the ghetto and against the imposition of a crushing colonial state of mind. The piece is a summons to awake from the broken English dream and assume the Puerto Rican and Latin American essence that belongs to us. The text was written by two Puerto Rican poets living in New York City: Pedro Pietri and Sandra Esteves. The music largely makes use of Afro-Caribbean rhythms, and involves theatrics.

Recording of Terry Setter's 950 for Bob. He describes this style of composition as "focusless music," which is structured in such a way that the listener always hears an undifferentiated sound continuum, making the smallest changes noticeable. The title refers to the length of the piece (950 seconds) and to Robert Ericksson, to whom the piece is dedicated.

Recording of Trevor Wishart's Les Accords d'Helsinki for tape.

Recording of Steve McCaffrey and François Dufrêne's Les accords d'Helsinki. These pieces are part of a suite for electronics. Sound materials include vocalizations and spoken text.

Recording of Alcides Lanza's Acufenos V, for trumpet, piano and electronic sounds. Written in 1980 for the trumpet player Robert Gibson, who did the premiere performance at Pollack Hall, Montreal, with the pianist with Alcides Lanza at the piano. The tape part of Acufenos V was made from sounds of recorded trumpet, with a diversity of mutes and styles of playing, and electronic imitations of the same sounds. Acufenos is a Spanish medical term meaning "tinnitus" (tinnitus: from the Latin ringing, French tinnitus or acuphene. It is the past participle of "tinnire", to ring: a sensation of noise (as a ringing or roaring) that is purely subjective. With the carapace of a porcupine type of animal. The tape part was realized at the electronic music studio, McGill University, Montreal, and finalized at the private studio of the composer (Shelan Studios).

Audio tape from The Black Academy of Arts and Letters recorded during the African Dance: Drums of Passion concert held at the Academy on the Naomi Bruton Main Stage. The tape features an ensemble of drums and various percussion instruments.

Recording of Henri Chopin's L'agrippe des droits. One male voice reads the poem which is then electronically processed. Written for Christian Clozier. Henri Chopin's "Audiopoems" was originally realsed on cassette by Edition Hundertmark as 89. Karton in 2001. Only 500 copies were released.

Recording of Henri Chopin's L'Agrippe des Droits. One male voice reads the poem which is then electronically processed. Written for Christian Clozier.

Recording of Trevor Wishart's Anticredos performed by Trevor Wishart. It is a live-performance piece for six amplified voices using extended vocal techniques, but no electronic modification of the voices. The piece, commissioned by the English group "Singcircle," takes the word "Credos" and slowly dissolves and changes its sound-constituents through processes of gradual transformation. This recording is a studio version of the piece "sung" entirely by the composer.

Recording of Charles Dodge's "Any resemblance is purely coincidental" for tape. The piece aspires to represent the voice of Enrico Caruso in much the same way that Andy Warhol represented the figures of contemporary popular culture in his silk screen portraits: the voice is unmistakably that of Caruso, but with a difference. In "Any resemblance is purely coincidental," an operatic voice searches for an accompaniment: with the original orchestra, with copies of itself, with the piano, and with other computer sounds. The initial attempts are humorous; subsequently, other emotions are evoked until the loneliness of the "great performer" emerges. The voice is made with computer synthesis based on a 1907 recording of the aria "Vesti la giubba" from Ruggiero Leoncavallo's I Pagliacci sung by Enrico Caruso.

Recording of Daniel Arfib's L'approche de la lumière ("The Approach of the Light"). The piece functions as much as a sound experiment on the resonance of the vibrations as of sound as a concert piece. For the entire listening experience, pay particular attention to the quality of the silence before and after the performance.

Recording of Barry Truax's Arras for four computer-synthesized soundtracks. Arras refers metaphorically to the heavy wall hanging or tapestry originally produced in the French town of the same name. The threads running through the material form both a background and, when colored, a foreground pattern as well, even when they are the same thread. In the piece there is a constant ambiguity between whether a component sound is heard as part of the background texture, or whether it is heard as a foreground event because, in fact, the frequencies are the same. The listener can easily be drawn into the internal complexity of the constantly shifting pattern, but at the same time can sense the overall flow of the entire structure. Arras is a continuously evolving texture based on a fusion of harmonic and inharmonic spectra. The large-scale structure of the piece follows a pattern of harmonic change going from closely spaced odd harmonics through to widely spaced harmonics towards the end. Each harmonic timbre is paired with an inharmonic one with which it shares specific harmonics, and with which it overlaps after each twenty-five second interval. This harmonic/inharmonic structure forms a background against which specific events are poised: shorter …

Recording of Teresa Rampazzi's Atmen noch. After many months of researching the relationships between harmonic or better harmonic spectra, this piece was the result of that research. This research was done jointly with Rampazzi's student Maria Luisa Bon. The form of the work is sets of stamps and association between them and a Grecian-inspired Cantus Firmus. The groups are figurations of galaxies out of time.

Recording of Thierry Lancino's Le Banquet des Morts. This work was composed in the Computer Music Studio at Colgate University New York in February and March 1980. The studio, created by Professor Dexter Morril in 1971 offers a digital/analog converter built at Stanford by Joseph Zingheim in 1972-73. This converter is an interface with the Digital Equipment Corporation PDP-10 from the Colgate Computer Center. The piece uses software developed at Stanford, known as Music 10, as well as the score program created by Leland Smith, the Func program (allowing easy writing of functions) and the Gordon Ross Mixer program. The piece is therefore entirely computer generated. Two instruments used, one uses the principle of synthesis by frequency modulation based on an algorithm of John Chomning, the other the principle of additive synthesis based on an algorithm of Jean-Claude Risset.

Audio cassette from The Black Academy of Arts and Letters recorded during an annual Black Music and the Civil Rights concert held at the Meyerson Symphony Center in Dallas Texas. The tape includes various singers and a large choir singing gospel and spiritual music. The tape concludes with an audience applauding the performers.

Recording of Boyko Stoyanov's C.A.S. Stoyanov was inspired by the interpretation of Chopin's Op. 30, no. 1 by the Japanese pianist Rikako Akatsu, performed at the Chopin Piano Competition in Warsaw. In this work, the composer wanted to create a unique form, the basis of which provided by the electroacoustic music.