Interview with William D. Tate about the history of Grapevine, Texas.

Interview with Catherine Terrill about the history of Grapevine, Texas.

Interview with Catherine Terrill about the history of Grapevine, Texas.

Recording of Jukka Tiensuu's P = Pinocchio ? for six interpreters, computer-generated tapes and computer system for real-time compositional processes.

Recording of Tamas Ungvary's Ite Missa est (in memoriam Rudolf Maros). Ite, missa est ("Go, the mass is over") ends the mass in the Catholic liturgy. "Ite, Missa est" is in part based upon gliding sounds. The noted Hungarian composer Rudolf Maros, a good friend of Ungvary, was a remarkable humanist and pedagogue, for many Hungarian composers a father figure in the word's deepest sense. Ungvary began to compose this work during the last period of Maros's life. He died before the piece was able to be presented to him.

Recording of Horacio Vaggione's Octuor. Sound material is all computer synthesized. Techniques used include frequency modulation, nonlinear distortion, additive synthesis and wave array synthesis.

An attempt to find a new spiritual consciousness. The Grand Patriarch was not interested. Consequently, I dedicate Motet in all his glorious incompetence to the hordes of black stars.

Interview with Ted Wilhoite about the history of Grapevine, Texas.

Recording of Trevor Wishart's Anna's Magic Garden. It is an impressionist work that attempts to recreate the agitation of the world from the view of a three-year-old child. The voice is that of his daughter, Anne Ruth. The piece contains sounds both concrete and synthesized. Recorded over five weeks in the studios of San José State University and University of Texas, Austin.

Interview with Jim Wood about the history of Grapevine, Texas.

Interview with Earl Yates, Jr. about the history of Grapevine, Texas.

Recording of Roland Yvanez's Neiges.

Recording of Zagorka Zivkovic's Extension 1 created at the Electronic Music Studio in Stockholm. It is the first in a series of works aiming to extend the sound quality of certain live-instruments. This piece focuses on the cello and manipulating the instrument in different ways - from a low degree (transposition) to an extremely high degree (a combination of layerings of loops and permutations through the use of a Buchla synthesizer). These sounds are then juxtaposed with some pieces of the original sound material in order to give depth to the perception of the instrument.

Extension I is the first in a series of works aiming to extend the sound quality of certain live instruments. In this piece it is the cello. Its sound is manipulated in different ways - from a low degree of manipulation, e.g. transposition, to an extremely high degree,e.g. a combination of layerings of loops and permutations with help from a Buchla synthesizer. The manipulated sounds are then juxtaposed with some pieces of the original sound material, in order to give depth to our perception of the instrument. The piece was made at the Electronic Music Studio in Stockholm.

Recording of Tommy Zwedberg's Röstband performed by Kerstin Ståhl (mezzo-soprano), Jorgen Johanson (trombone), and Göran Rydberg (percussion).

Recording of Lars Åkerland's Inout.

Audio cassette from The Black Academy of Arts and Letters recorded during a session with gospel singer Tommie Stewart in June of 1982. The tape incudes two tracks of well recorded audio. The first track is a dramatic spoken word poem "For My People" that touches on the topics of slavery and civil rights. The second track is Tommie Stewart speaking to Curtis King about an upcoming performance with a dance company.

Audio cassette from The Black Academy of Arts and Letters recorded during a meeting on July 6th, 1981 lead by Curtis King for planning the September gala for the following season. The tape is primarily intelligible minus moments of Curtis Kings voice voice coming through static.

Recording of Alain Marchal's Los. The sound material includes percussive metal events and often violent, simple chords of three soprano voices. These elements are antagonistic to one another, where the percussive sounds attack, alter and kill the chords sung by the soprano voices. "Los" in German means "foward!" As a suffix, however, it indicated deprivation or absence. L.O.S. are also the initial of the first words of the sentence by Dante at the gates of Hell "Lasciate Ogni Speranza voi ch'entrate" ("Abandon all hope, you who enter").