Akha songs and narratives. 0-27 Hani, Mòjiang xiàn, Akha word list. gloss 421-450; 27-[end] Àbɔ́qɔ: mì dàq sjhí ŋɛ tshɔ́ ŋö́ ŋö́ ə. Mɛ-bý 12/10-82

Akha songs and narratives. Continued from Side A. Àbɔ́qɔ: mì dàq sjhí ŋɛ tshɔ́ ŋö́ ŋö́ ə

Akha songs and narratives. njí-phà sjhí ə, àphi bú-sjhò, Maeby 26/9-82

Akha songs and narratives. njí-phà sjhí ə, àphi bú-sjhò, Maeby 26/9-82

Akha songs and narratives. njí-phà sjhí ə, àphi bú-sjhò, Maeby 26/9-82

Akha songs and narratives. 0-5 njí-phà sjhí ə, àphi bú-sjhò, Maeby 26/9-82; 5-end shà ziq ziq ə 8/10-82

Akha songs and narratives. Àbɔ́qɔ: tshɔ́ ŋö́ ŋö́ ə 26/9-82; tjhɛ́ nḿ tsýq ə shà ziq ziq ə 8/10-82

Akha songs and narratives. Continued from Side A. Àbɔ́qɔ: tshɔ́ ŋö́ ŋö́ ə 26/9-82; tjhɛ́ nḿ tsýq ə shà ziq ziq ə 8/10-82

Akha songs and narratives. àphiphò, njí-phà sjhí ə I

Akha songs and narratives. Continued from Side A. àphiphò, njí-phà sjhí ə I

Recording of Jonty Harrison's Klang realized in the Electronic Music Studio of Magyar Radio in Budapest during September 1982. It features the sound of earthenware casseroles and electro-acoustic techniques.

Recording of Jonty Harrison's Rosaces 4 for four amplified voices, stereo fixed medium and four-channel tape. For the tourist, Notre Dame de Chartres may be just one more 'sight' amongst the gothic cathedrals of northern France, only notable perhaps for having more of its original medieval glass than most of the others. But why are the three rosaces (rose windows) at the Chartres considered by experts to be amongst the hour greatest ever produced? Why is the building 46°54' off the normal west-east orientation for a medieval church? Why are there no sculptures and no graves within the building? And how was a relatively small community able to erect, in only twenty-six years and with no interruptions, a cathedral with the widest known gothic vault, when work on cathedrals in wealthier cities was interrupted for lack of funds? Could it be that the outward beauty and perfection of the building are the result of something else, something hidden.....? Rosaces 4 was commissioned by Elms Concerts with funds made available by the Arts Council of Great Britain. The stereo and four-channel tapes were made in the Electro-acoustic Music Studio, University of Birmingham.

Interview with John Hemley about the history of Grapevine, Texas.

The work was composed in Stockholm Music College Studio at the end of 1982 in opening of Strindberg's "The Ghost Sonata". (Kama Loka is the unofficial subtitle that Strindberg gave to his work.) One can certainly listen to this work without referring to the piece, but for those who know it, some correspondences are perhaps worthy of interest. The work is conceived as a traditional opening in which the musical material approaches the characters and the events of the piece to the music illustrates a vision of which the student observer has an experience both in the future and in the past (tic-toc clock). He pierces the secrets of the house (percussive attacks, dry and cracking sounds) of betrayal, guilt and evil. He sees the daughter of the house (river of his highs, vulnerable), victim of the game of the Evil One, defenseless, frozen in his martyrdom, he sees the old man Hummel (bands of rattling sounds, ticking, penetrating), the vampire and manipulator who devour the heart and the human life, everything leads to the destruction of the house, the disaster during which the student saves a poor child, the vision slowly moves away and melts in a Sunday morning …

Recording of Reed Holmes's Song and Fantasy. Song and Fantasy was realized in a Fairlight Computer Musical Instrument (CMI). Almost all of the tape, originated as live trombone sounds. To accomplish this, the composer wrote several lines and fragments for trombone. Tracy Collins, the trombonist, played the music as the composer recorded it on a reel-to-reel tape deck. These sounds became the source material for the composition. The composer fed the material into the computer by a sampling process, and from this point, most of the manipulation was performed in the computer.

Interview with Louise Hurst about the history of Grapevine, Texas.

Recording of Joseph Hyde's Whalehailstones. Much of the material for this piece was derived from an old piece which was mainly concerned with pitch and the accumulation of harmonic fields of varying complexity. The old material is used to give gesture, rhythm, and form. There is additional processing and sound effects, but overall this piece is gesturally bold, simple, and has unambiguous surface shaping an inner movement that is more complex.

Recording of David Jaffe's Silicon Valley Breakdown, a spatial work for a symphony of imaginary plucked stringed instruments ranging from the tiny piccolo mandolin to the immense bass "plucked Golden Gate Bridge", created through computer synthesizer. The piece includes elements of "bluegrass music" in both a serious and satirical way.

Recording of Alden Jenks's Nagasaki made in the electronic music studio of the San Francisco Conservatory of Music. Both electronic and non-electronic sounds were used (of the latter the human voice and music of the Japanese court, "gagaku", figure prominently). The human voice appears to be electronically generated, or electronic sounds appear to be gagaku instruments, singing voices, or a percussion ensemble. The words used are those of Fujio Tsujimoto at the age of five, of Nagasaki; on the tape they are spoken by the Japanese violinist Mayumi Ohira.

Recording of Werner Kaegi's Conversations: Partie 1: In Memoriam.

Recording of Werner Kaegi's Conversations: Partie 3: Vers d'autres jeux.

Audio cassette from The Black Academy of Arts and Letters recorded during a KERA radio interview lead by Nancy Lamb of choral conductor Dr. Eva Jessye in April of 1982. The tape includes one track of very clear audio between the two women. The topic of the interview centers on Jessyes' career of breaking into a predomintaly male industry. Dr. Eva Jessye was the first black woman to receive international distinction as a professional choral conductor. She is notable as a choral conductor during the Harlem Renaissance.

Recording of Rob Kruit's Unknown Roads

The composition is a meditative work based on the cantability of basic instrumental materials - fragments of melodic and harmonic structures of a cello part - transformed by the vocoder, the digital sound processor, the equalizer, and so on. It clearly shows the author's desire to establish a relationship between these "thematic materials" ostentatious timpani and dynamising structures synthetically created.