Recital presented at NTSU School of Music Recital Hall.

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

Faculty recital performed at NTSU School of Music Recital Hall.

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.

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 recorded during Frummox Live at KNUS on a Ampex 341 Recording Tape 7" Reel.

Recording of John Gilliland interviewing Bing Crosby in Hollywood for the Pop Chronicles radio program series.

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.

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

Traditional musical performances and chanting recorded in Taipei.

Traditional musical performances recorded in Taipei in 1971.

Traditional musical performances and chanting. Continued from Side A.

Recording of Horacio Vaggione's La maquina de cantar.

Recording of Denis Lorrain's L'Angélus. This piece is of a fairly free design and naturally exploits passages of contrast or homogeneity between the tape and clarinet. The tape is composed of electronic and concrete sounds, including sounds from the clarinet itself. The development on two channels of the tape is opposed to the fixity of the interpreter situated between the two speakers. In a live presentation, this piece tries to avoid clearly marking its chronological limits: the beginning is designed to merge with the applause following a previously performed piece, and one avoids a precise ending by making one final clarinet sound on the speakers after the exit of the clarinetist.