Traditional musical performances and chanting recorded in Taipei.

Traditional musical performances and chanting recorded in Taipei. Continued from Side A.

Traditional musical performances and chanting recorded in Taipei.

Public performance including traditional musical instruments, chants, and singing.

Speeches, traditional musical performances, and chanting recorded at a celebration of Confucius' birthday in September 1972.

Traditional musical performances and chanting.

Traditional musical performances and chanting.

Traditional musical performances recorded in Taipei.

Traditional musical performances recorded in Taipei.

Traditional music and chanting recorded during morning worship.

The National Museum of the Pacific War presents an oral interview with Lyndon Baines Johnson. Johns tells an anecdote of waking up sick in the hospital on Fiji and being transported to Hawaii where Admiral Nimitz invited him to return to the US with him in his plane. Johnson declined as he was not feeling well enough to travel. He then mentions that Nimitz'z plane crashed upon landing in the San Francisco Bay.

Recording of Klaus Stahmer's Transformationen. This is a work for electronics and instrumentals. It consists of 4 movements: Meditation, Um Den Kreis, Gewalt, Ozeanisch. This work was commissioned by Sonoton.

Recording of Alcides Lanza's Penetrations VII. Penetrations VII (1972-III), the chamber version of Penetrations VI, moves from the individual's memories to a concern for mankind's global memories. This piece also deals with communication...or the lack of it. The performer is at the same time a child and a woman experiencing all the memories of humanity. The accumulated hatred and evil of our human history becomes too much to remember, causing a collapse. However, the piece ends in a rebirth of hope such as children perennially inspire in us all - and a reminder to "listen". The work uses the voices of Meg Sheppard, Alejandro Puente and Alcides Lanza. Some sounds were created using modules created by Hugh Le Caine. Composed at the composer's studio SHELAN, in Montreal, and finalized at the EMS, McGill University.

Recording of Jorge Naparstek's Simple y Hueco. This piece uses only sounds from a Shakuhachi flute, which was recorded by the composer. The spirit of the piece reflects the introspective and intimate character of the composer.

Audio reel from the Steven Fromholz Papers, Odyssey Tapes recorded on Scotch Magnetic Tape RB-7.

Audio reel from the Steven Fromholz Papers recorded during Steven Fromholz's interview with KBPI-FM, Denver - Live Music! Recorded on Scotch Brand Magnetic Tape, Pro-Pack 176. Written on one side: Steven Fromholz interview with J. Love 11-24-72 ; Written on other side: Deep Purple 9-16-72

Faculty recital presented at North Texas State University School of Music Recital Hall.

Recording of Barry Truax's Gilgamesh, The Journey to the Gods, a music theatre work for singers and 12 four-channel tapes. The work is based on the legend of the Sumerian god-king, as told in the Epic of Gilgamesh which dates from the 3rd millennium, B.C., 1500 years before Homer. In the epic, Gilgamesh is part god, part man, who is responsible for the building of the first walled city, Uruk, and other feats of technology. He has become close friends with Enkidu, a "wild man" reared by animals but then tamed and civilized to become Gilgamesh's heroic companion. However, Gilgamesh taunts the gods who declare that one of them must die, and here the story of the musical work begins, with the death of Enkidu. Gilgamesh reacts with anger, nostalgia for the glorious past, a prayer to the gods, and finally he commands them as King to reverse the death, all to no avail. At the end of the first half of the work, a supernatural "God voice" heard through the loudspeakers challenges Gilgamesh to come on a journey of quest for the secret of immortality. The second half begins with a tone poem (tape 7) called The Journey to …

Recording of Michaël Christopher's Mithril Canticles.

Recording of Peter Tod Lewis's Signal Messe. "Signal-messe" is an attempt to make a single coherent "bi-sensory" experience from two independent media expressions. The "performers" were the creators, having long since stored their improvisations on magnetic tape or film. The "mess" of stored "signals" was severely cut, edited, processed, mixed, according to a structure that seemed to be dictated by the material itself (though, naturally, in light of subjective considerations). The structure continued to emerge when the tow elements, tape and film, were presented together. It was evident they had much in common: the film seemed, incredibly, a visual analogy of the music, their internal rhythms identical. It remained simply to synchronize the two to match certain salient audio features with video ones. The film is a movie of various video patterns produced largely through video feedback of a black and white system and then converted to color by a video color quantized, a unique device which allows the operator to assign virtually any color to any value in the video grey scale. The film provides a window into a fantastic color world that just might be the same aesthetic realm as that of the sound.

Recording of Douglas Lilburn's Three Incapes, consists of three movements, the outer two formally related while framing a central statement. The colour and energy of this movement are finally reduced to a series of drum-taps. Three Inscapes is the first work where Lilburn used only the voltage-controlled synthesizer - the Putney VCS3.

Recording of John Gilliland interviewing Milton Berle for the Pop Chronicles radio program series.

Recording of John Gilliland interviewing actor Allan Jones for the Pop Chronicles radio program series.

Audio tape recording of a Liquid Paper Corporation meeting held on April 7, 1972.