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.

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.

The ninth program in John Gilliland’s 24-program series on popular music and culture in the 1940s, produced following the success of his extensive Pop Chronicles series on the 1950s and 1960s. This program highlights the year 1943, with discussion of wartime movies.

The eighth program in John Gilliland’s 24-program series on popular music and culture in the 1940s, produced following the success of his extensive Pop Chronicles series on the 1950s and 1960s. This program highlights the years 1942 and 1943, with discussion of Frank Sinatra, and the Rodgers and Hammerstein musical Oklahoma.

The first program in John Gilliland’s 24-program series on popular music and culture in the 1940s, produced following the success of his extensive Pop Chronicles series on the 1950s and 1960s. This program introduces the first half of the 1940s, with discussion of wartime culture, celebrity participation in the war effort, and the Golden Age of Radio.

The second program in John Gilliland’s 24-program series on popular music and culture in the 1940s, produced following the success of his extensive Pop Chronicles series on the 1950s and 1960s. This program highlights the year 1940, with discussion of the "sweet" bands and the influence of Bing Crosby.

The seventh program in John Gilliland’s 24-program series on popular music and culture in the 1940s, produced following the success of his extensive Pop Chronicles series on the 1950s and 1960s. This program continues the previous program's emphasis on the year 1942, with discussion of the songs of Johnny Mercer, Capitol Records, and mass migration connected to the war effort.

The tenth program in John Gilliland’s 24-program series on popular music and culture in the 1940s, produced following the success of his extensive Pop Chronicles series on the 1950s and 1960s. This program highlights the year 1944, with continued discussion of wartime culture.

The third program in John Gilliland’s 24-program series on popular music and culture in the 1940s, produced following the success of his extensive Pop Chronicles series on the 1950s and 1960s. This program continues to highlight songs from 1940 (and slightly before and after), with discussion of vocalists, and the impending war.

The fourth program in John Gilliland’s 24-program series on popular music and culture in the 1940s, produced following the success of his extensive Pop Chronicles series on the 1950s and 1960s. This program highlights the year 1941, with discussion of the ASCAP boycott and BMI, and the Second World War.

The eleventh program in John Gilliland’s 24-program series on popular music and culture in the 1940s, produced following the success of his extensive Pop Chronicles series on the 1950s and 1960s. This program highlights the time frame around 1944, with discussion of Hollywood's output during the war.

The twelfth program in John Gilliland’s 24-program series on popular music and culture in the 1940s, produced following the success of his extensive Pop Chronicles series on the 1950s and 1960s. This program is the finale of Part I of the series, which covered 1940 through 1945, and was originally broadcast in October and November of 1972. It highlights the end of the Second World War, with discussion of armed forces' return home, and "dream" songs.

The sixth program in John Gilliland’s 24-program series on popular music and culture in the 1940s, produced following the success of his extensive Pop Chronicles series on the 1950s and 1960s. This program highlights the year 1942, with discussion of wartime music and culture, and cultural reflections of domestic mobilization in the U.S.

The fifth program in John Gilliland’s 24-program series on popular music and culture in the 1940s, produced following the success of his extensive Pop Chronicles series on the 1950s and 1960s. This program continues the previous program's emphasis on 1941, with discussion of the music of Freddy Martin, as well as of "sweet" bands and gimmick (or "Mickey Mouse") bands, and wartime novelty songs.

Journal article discussing computer generated music jointly prepared by M.G. Bidnurkar and Padma Rangachari.

"Metallika Glypta III", is the third release of a series of three works under the same title, was written in February 1972. Their processing and the final realization were made in the studio of the author. The sculpture exhibition of Loukoupoulos (1972) was the starting point of "Metallika Glypta". The idea of ​​using sounds taken exclusively from metal sculptures was a particularly challenging stimulus. The musical activity starts at the first moment when the sound material was collected. The ideas on the making of sounds were preconceived, they came one after the other. Each successful essay highlights the emotion of the first creative success. The same emotion was found in later treatments and their inclusion in large units. The form of the work -fluent and evolving without stop- serves the integration of musical ideas in a composition that has not denied the original material. The feeling of metal is thus always present.