Recording of Raoul de Smet's Adagio. For this work the composer had proposed harmony and relaxation "before anything else.” From there, a slow and steady tempo and very simple form. The sound material is provided by twelve ordinary sound generators. The work begins with a chord in the treble, slowly emerging from the silence or void sound and sustained by a regular pulsation in the bass, the result of differential sounds. Then several new sounds are added while others change timbre, octave, or dynamics causing different sounds of other types. During a slow rise in crescendo, short glissandi roam and decorate the sound space until the climax is reached. A sound column, containing twelve frequencies, comes to rest for about a minute, allowing the ear to move in the audience and thus capture the sound shimmer. This passage is the opposite of the sound of nothingness and could thus appear as a sound universe where one could also lose the notion of time. A brutal blow breaks this sound column like a spring too long stretched. This universe collapses slowly to retreat into the depths of the sound nothingness from which it came. The work was realized on an analogue …

Recording of Eduardo Bértola's Tramos for tape. The piece was made from two sound sources: radio broadcasts and direct recordings of popular events. These materials were structured by simple juxtaposition excluding the mixes and any kind of development of the original sound. It is therefor a purely horizontal structure in which we note the union of fragments of hard edge, perfectly delimited, similar to that used in some works of North American Pop Art. In this way, Bértola expresses his own point of view on the cultural significance and the non-significance of radio mass media in the countries of Latin America.

Sound recording of Merle Miller speaking at the 10th Annual National Colloquium at the Grove Park Inn in Asheville, N.C..

Sound recording of Truman Eustis III giving a Court related speech titled "Decisions and Current Legislature" at the 10th Annual Oral History Colloquium at the Grove Park Inn in Asheville, N.C..

This audio recording documents musicians, craftspeople, and attendees at the fourth annual Smithville Fiddlers' Jamboree in Smithville, Tennessee. The recording includes interviews and musical performances.

Recording of Micheline Coulombe Saint-Marcoux's Miroirs. This work identifies the problem of togetherness with the coexistence of the two sound sources, mainly using as basic material a harpsichord score previously recorded and subsequently subjected to various electroacoustic treatments. Concrete sounds and modulated sounds (EMS synthesizer) are used, to which are added some electronic sounds recorded directly in the studio. The final cut of the magnetic tape then served as the basic material for the development of the score structured in six moments which evolve into "mirror games".

Interview with Ruth Mageors, a resident of Baytown, Texas beginning in 1921 when the town was named Pelly. Mageors explains living in town during the early days of Baytown as being very tough, and also discussing the ferry boat and Herring's Drug Store.

Interview with J. W. Carroll, B. B. Williams, Melvin Barry, and Bob Kalbitz, all members of the Exxon Oilers baseball team from Baytown, Texas. After a short introduction by Webber, these men all answer questions and describe their experiences before they arrived in Baytown and during their playing days for the Oilers.

Recording of a personal letter to a family member who is traveling, made in Aizawl village.

Recording of a personal letter to a family member who is traveling, made in Aizawl village. This part has instructions and advice to parents on the children's upbringing.

The entire program for the jazz hour (second hour) of Music USA, broadcast May 2, 1975. The program contains Part II of the funeral of Duke Ellington, on May 27, 1974, as broadcast on radio, possibly by station WRVR.

Interview with W. M. Austin, who discussed his life experience and viewpoints.

Interview with Gid Bryan, discussing his life experiences and viewpoints.

An interview with Willis Conover, following an introduction in Danish.

Recording of Michela Mollia's Viola Celeste. This work was performed at the Experimental Studio of Electroacoustic Music of the Conservatory of Pesaro. Its sound material is made up of 950 sines, grouped in a mixture of 4 sines, each and arranged in 16 sets of 21 mixtures from start to finish. Each layer (4 complexes) is a fairly complex superposition of sinusoidal sounds, the frequencies of which vary over time so as to avoid the creation of melodies, but to stabilize between one frequency value and the next, a very long interval. Viola Celeste is the name of an organ register. The title signifies the composer's intention to synthesize the sound of this instrument, but rather to create a sort of gigantic uniform "cluster".

The entire program for the jazz hour (second hour) of Music USA, broadcast May 3, 1975. The program contains Part III of the funeral of Duke Ellington, on May 27, 1974, as broadcast on radio, possibly by station WRVR.

Recording of Michela Mollia's Viola celeste. This work was realized at the Experimental Studio of Electroacoustic Music of the Pesaro Conservatory. Its sound material consists of 950 sinusoids (sine curves) grouped into a mixture of 4 sinusoids each and arranged in 16 sets of 21 mixtures from beginning to end. Each layer (4 complexes) is a rather complex superposition of sinusoidal sounds whose frequencies vary in time so as to avoid the creation of melodies, but to stabilize between one frequency value and the next, a very small interval. "Viola Celeste" is the name of an organ register. The title means by my intention to synthesize the sound of this instrument, or rather more accurately, to create a sort of gigantic uniform "cluster.”

The specified pitches are made to generate their own accompanying frequencies, generally inharmonic with respect to the pitches themselves, as a result of FM or AM procedures. Each interval, or, in fact, each pitch-pair (or if you don't want to limit yourself to the chromatic scale, each pair of arbitrarily decided upon frequencies) can generate several possible spectra, but the similarity in sound quality between kinds of spectra quickly reduces to a limited number of readily manageable families of chord-types. These chords are the basis for a variety of musically interesting relationships, and this work represents but one of many possible developments of these kinds of sounds. The clarinetist in this recording is Philip Rehfeldt.

Last October while thinking about a composition I was to realize in the Columbia-Princeton Studio I spent a lot of time in my room listening to distant noises coming in through a half-open window. It was a seemingly disordered mixture of the street hubbub, signals of the river ships, and the distant thunder of planes. After some time I had an impression of all these noises being alive and perhaps even conscious of their existence; it seemed as it they wanted to speak. United into one whole and yet confined only to themselves they created a lonely choir. I wanted to express this feeling in my new composition. Solitude of Sounds does possess a certain plot. In the first phase, the homogeneous sound material exists only at the lowest register, as if unable to "free" itself from the area of darkness and uncertainty. Later, in the higher register, there appear sounds complexes of harmonic structure. They form a kind of a "choir" of aliquots, mutually penetrating and "singing through" one another. However, they are not allowed to create any new quality due to their restricted nature. Circling and persisting, they remain forever imprisoned in their own imperfection. I would like …

Recording of Iván Székely's For Alrun I et II. The work entitled "For Alrun" was composed in 1975 in Bayreuth during a live electronics course. The singing part of the play of about 7 minutes, a form and a light local broadcast, contains the popular song tchango beginning with the words "Gyere ki te gyšngyvirag" / come, leave my beautiful, my lily of the valley / - this one will have to be changed to all the presentations in Hungarian. This task was undertaken at the world premiere by Alrun Zahoransky - hence the title of the work. The player applying the electronics, especially from the point of view of the instrumentation, produces sounds and manipulates the electronic sounds and the human voice. The piece does not require studio work, each tone or voice sounds in vivo (i.e. each presentation, each show is new). The focus is on the psychic process of the piece and not on the technical process; its different degrees of difficulty adapt to the possibilities of the presentation. The singer is Ágnes Zsigmondi. The translation of the song is: Come, leave my beautiful, my lily of the valley, Because the moon is mounted, alas. I will …

After an intense period of analog familiarization with the range and enormity of available sounds extraterrestrially and in nature, I tried the only techniques then available to me, tape manipulation and speaker placements. The only coloration that I employed in early sound handling was through equalization, balancing and combining mix-downs. I have always monitored from nearly neutral sensors, and my interest has been in trading, configuring and juxtapositionings and in the presentation of sound in natural and climatically different contexts, mainly exterior and in realtime. Within the 1980s, I worked with 200-speakers using an Intel 8080 microprocessor used for satellite teleperformances, with collaborators and in outdoor "studios." Structure wise my work centers around spaces in spaces, scale and proportion and my soundworks effect an awareness of the psychological effects of sounds, for instance, from trees and wind transformation via my windribbon. I'm concentrating on conceptualizing a segue into Internet 2 realtime with oncall 2way availabilities of my data-laden resources. My basic groundwork includes several recyclings of the TerraInstruments including the signal discs, selfbroadcasting trees, lased raindrops and windribbon variations in an attempt to express the voltages I seek from natural sources as recontextualized audible constructs: offering personal connections to the …

Recording of a eulogy for Duke Ellington by Willis Conover, likely incorporated into one of the memorial programs following Ellington's death. It may have been included in Music USA #7427-B, broadcast May 1, 1975.

Recording of Luigi Ceccarelli's Il Contingente Cambia Colore, installation for 4 tape loops with concrète sounds.

Recording of James Dashow's Effetti Collaterali performed by the clarinetist Phillip Rehfeldt. The composer's first effort in using systematically his concept of AM and FM spectra as inharmonic harmonizations of specific dyads. The specified pitches are made to generate their own accompanying frequencies, generally inharmonic with respect to the pitches themselves, as a result of FM or AM procedures. Each interval or each pitch-pair can generate several possible spectra, but the similarity in sound quality between kinds of spectra quickly reduces to a limited number of readily manageable families of chord-types. These chords are the basis for a variety of musically interesting relationships, and this work represents but one of many possible developments of these kinds of sounds. Effeti Collaterali was commissioned by Francois Bousch who was the resident holder of the "Prix de Rome" at the French Academy for the 1975/76 concert season.