Traditional musical performances and chanting recorded in Taipei.

Akha narratives, chanting, and group conversations with elders and children.

Traditional musical performances and chanting. Continued from Side A.

Traditional musical performances recorded in Taipei in 1971.

The National Museum of the Pacific War presents an interview with Allen Hugh. Hugh reads a series of letters dated 1907, when he was 21 years old, written to his mother while serving in the Navy. He speaks about schooling in the Navy and interactions with Chester Nimitz, whom he served with. He served as a deck and ordnance officer. He comments on traveling to Manila, Philippines, and his experiences hunting, swimming and touring the island. He served aboard the USS Wisconsin (BB-64), where he traveled to Nagasaki, Japan and Kuling, China. He speaks on visiting a Mr. McNally there and riding in sedan chairs with three other midshipmen. Hugh describes serving aboard the USS Decatur (DD-5) that Nimitz commanded in 1907.

Interview with Bert Caha and son-in-law Nevin Black, where Bert Caha discussed his life experiences.

Recording of Sten Hanson's Dance figure. This work is for voice and electronics. The voice is put they a delay processor to continuously loop the phrase, accompanied by the electronics which allow for the repetition to evolve.

Audio reel from the Steven Fromholz Papers recorded during Frummox Live at KNUS on a Ampex 341 Recording Tape 7" Reel.

Audio reel from the Steven Fromholz Papers recorded during one of Fromholz's performances with his band. Recorded on Scotch Brand Magnetic Tape 154 - 7" Reel.

Audio reel from the Steven Fromholz Papers, an unedited album version. Contains 1) Mexican Waltz, 2) Strange Day, 3) SCA - Going Junky, 4) Loving Friend, 5) Buzzard Blues, 6) Yellow Cab, 7) Beatrice, 8) Purple Song, 9) Hold On, 10) Never Made Love in a Meadow, 11) Think About the Mountains, 12) Heroes.

Recital presented at NTSU School of Music Recital Hall.

Faculty recital performed at NTSU School of Music Recital Hall.

Recording of Eugeniusz Rudnik's Divertimento. The composer's intention is that this composition should produce an effect in the sphere of musical expression, as well as - or perhaps above all - in the poetic sphere. The creative assumption is to hide from the listener the whole " technology " of music for magnetic tape, which, should be the means, not the aim. Another, perhaps the most important assumption is the simple but clearly outlined architectonics of the composition. From time to time the composer used advanced transformation of the sound material, but preserved respect for the extremely precious substance, the human voice. The material came from various, often incidental sources within their reach. This method of selection was not forced ; it was neither compromise nor resignation. The whole assemblage consists of particular " bits and pieces " which, in their primary, chaotic being, fascinated me by their specific, unique expression or beauty. The composer made an attempt to set in artistic order a fragment of the world of sounds in because of their profession. The composer built arranged structures, often breaking chosen elements in order to present their often unperceived values. As regards the material based on speech elements, …

Recording of Denis Lorrain's L'Angélus for clarinet and magnetic tape performed by Bernard Paluck, clarinet. This piece is of a fairly loose design, and uses natural passages of contrast or homogeneity between the magnetic tape and clarinet. Magnetic tape is made up of sounds electronic and concrete, including sounds coming from the clarinet itself. Development on two magnetic tape channels is opposed to the fixity of the interpreter situated between the two speakers. This recording was produced December 1971, at the Electronic Music Studio, McGill University in Montreal.

Recording of Horacio Vaggione's La Maquina de Cantar.

Recording of Enore Zaffiri's Living Synthi. Work composed in 1971 for live performance with Sythesizer Synthi A.

Recording of John Gilliland interviewing Perry Como for the Pop Chronicles radio program series. This recording includes discussion of sexual harassment.

Recording of John Gilliland interviewing Edgar Bergen for the Pop Chronicles radio program series. The interview begins in track 3 following unrelated material, and continues through track 6, followed by an apparent live performance by the Mills Brothers. This recording contains slurs or stereotyping directed at race, socioeconomic background, sexual orientation, or religion.

Recording of John Gilliland interviewing Patty Andrews of the Andrews Sisters for the Pop Chronicles radio program series. The interview occurred either March 13 or September 13, 1971. A rehearsal is audible in the background. This segment is part 2 of 2.

Recording of John Gilliland interviewing composer Jimmy Van Heusen for the Pop Chronicles radio program series. This is the first of three segments. Van Heusen's wife is present for this recording, and speaks in track 5.

Recording of John Gilliland interviewing Harry Mills of the Mills Brothers for the Pop Chronicles radio program series. This recording includes unrelated audio from other broadcasts after the interview with Mills.

Recording of John Gilliland interviewing Helen Forrest for the Pop Chronicles radio program series.

Recording of John Gilliland interviewing author and critic George T. Simon for the Pop Chronicles radio program series.

Recording of John Gilliland interviewing composer Jimmy Van Heusen for the Pop Chronicles radio program series. This is the second of three segments.