Recording of Ricardo Mandolini's Cancion de Madera y Agua. This is an electroacoustic piece that was created with concrete sound materials. These materials include water and wood which are represented by means of two different musical propositions.

Elicitation of a Hani word list featuring 2 utterances of each word in isolation by a male speaker. Recorded in Kunming, Yunnan province, China.

Recording of Yves Daoust's La gamme. This is a work for electronics.

The National Museum of the Pacific War presents an interview with Douglas Cloakey. Cloakey joined the Marine Corps in October of 1940. He served with the 1st Battalion, 6th Marines. In 1941, they traveled to Iceland where they supplemented British troops to defend against a German attack on the island. In the fall of 1942, Cloakey deployed to Samoa and was assigned to the 3rd Raider Battalion. He participated in the Solomon Islands Campaign in 1943, and shares anecdotes of him and his fellow servicemen.

Interview with Ed Cleveland, discusses his life experiences and viewpoints.

Interview with Osie Chenault, who discussed his life experiences and life experiences.

Interview with Elmo Bailey, discussing his experience and personal viewpoints.

Interview with Theo Alexander, who discusses his life experiences and viewpoints.

Recording of Ákos Rozman's Impulsioni I-IV. Impulsioni I-III was realized at the electronic music studio EMS in Stockholm. The three etudes are built on synthetic sound material. There is a strong influence from The Basilica di san Clemente in Rome and a sense of Good and Evil, a theme that was to remain important all through Rózmann’s life. In 1981, he made Impulsioni I-IV adding on a fourth part containing sounds from sparrows, among other things.

Akha songs and narratives. Àbɔ́qɔ: àɣöɣöə III, 15/11-81

Akha songs and narratives. Àbɔ́qɔ: àɣöɣöə II, 15/11-81

Akha songs and narratives. Àbɔ́qɔ: àɣöɣöə I, 15/11-81

Akha songs and narratives. 0-20 Àbɔ́qɔ: tjhɛ́ nḿ tsyq ə Oct-81 (Ábɔ́koq's home); 20-25 Ásɔ̀q: tshɔ́ ŋö́ ŋö́ ə, zà sjhí xàqə, 6/11-81; 25-30 Ásɔ̀q: ja-phí dɔ́ ə qá-kɔq 6/11-81

Akha songs and narratives. tjhɛ́ nḿ tsỳq ə shà zìq zìq ə, Oct-81

Akha songs and narratives. ḿ sjhɔ́ nɛ̀q thó thó ə́, Àbɔ́qɔ 24/10-81

Recording of Pär Lindgren's Rummet. This piece is for electronics. The sounds are pre-recorded sound which have been manipulated and usually are present in communicative patterns. There is a constant sound happening in the background which acts like a drone and develops an eerie familiarity.

Recording of Simo Lazarov's Couches 7s. This piece uses 7 different layers of sound mixed to create a musical picture of Bulgarian folklore.

Audio tape from The Black Academy of Arts and Letters recorded during the a performance of Ossie Davis' Broadway comedy "Purlie Victorious" directed by Curtis King in November of 1981. The tape includes one track of recorded music with various singers from the theatrical production.

Recording of Nicolae Brînduș's Kitsch_N for clarinet, saxophones, Hungarian folk instruments, and tape. It is an instrumental theatre subscribed to the preoccupation of the author with controlling randomness in a musical action where the sound, attitude and stage gestures are structurally corroborated widening the domain of the performance. It is the second piece of a cycle named Vagues where the author develops similar stochastic principles of composition.

Recording of Nicolae Brînduș's Match - Monody I & Polyphony IV. It is a version dedicated to the Ensemble "Ars Nova" from Cluj Ð Romanian and based on collages of traditional folk dances from Romania's northern area of Maramures and ancestral laments from the regions of Banat and Oltenia. The final tape was re-positioned in the frame of the performers' controlled improvisation live which follows the same principles of composition. It became a sort of an ancestral memento to the momentary performing act. The music on the tape evolves from the natural sound of the folkloric sources, quoted as such, to its multiple subsequent electronic transformations, coming back to the same folkloric quotes in their natural sound at the end. All the process of transformations represent the pulsing and not pulsing metric type of musical activity (tempo strie and tempo lisse so as described by Pierre Boulez).

Recording of Denis Smalley's Vortex. "Vortex" centers primarily on the types of sound movements that suggest analogies and swirling images, sound objects, textures, and rapidly moving patches of sound, often around an axis. Such movements can evolve in a variety of directions: we can let them hover or play them. They may have a combined action or follow each other or be swallowed up by events of greater force. The sound events of various attacks, sizes and orchestrations give vocal points to the movement. They signal climates, initiate changes of direction or change of quality by evolving in their movement. Commissioned by Tim Souster with the help of the Art Council of Great Britain.

Recording of Michael Mac Nabb's Love in the Asylum. Love in the Asylum is a love song to the calculated insanity and spontaneous magic that one must sometimes call upon in order to live in this strange universe of ours. It features an orchestra of familiar instrumental and vocal sounds, new sounds drawn from the imagination, and---perhaps most expressively---sounds that fluidly shift between the two. The work is built of two psychological layers. Foremost is a layer of cheerful confidence and exuberance, colored and occasionally overpowered by a dark emotional undercurrent of anxiety and psychological imbalance. All sounds in Love in the Asylum were synthesized except for the laughter and the player calliope music. It includes a number of musical quotations, including quotations from other works of electroacoustic music. The spatial sound paths at the beginning of the first movement are from Turenas (1972) by John Chowning, who was a primary mentor, and influenced McNabb's decision to specialize in electroacoustic music and performance.

Recording of Daniel Steven Crafts Snake Oil Symphony. The Snake Oil Symphony (a metaphor for capitalist social relations), was composed in 1981. The first three "movements" of the Symphony establish the basic themes, along with an underlying rhythmic structure that crops up again and again throughout, as the tempo and pitch of phrases are used to create a sort of melody. Part One presents the surface reality of society as an endless movement of buying and selling, through the use of clips from a sales instruction talk, ads and so on. Woven through this is an ironic verbal-musical motif: "Now you can have this amazing new symphony, right in your own home," (which parodies cheap TV commercials), with piano notes underscoring the spoken pitches. The word "symphony" refers not only to a single work of art, but in the greater sense to "a mighty symphony of prosperity" (i.e. present social and cultural institutions). With the same phrase the composer is also letting the listener know that he knows his own work, too, is a commodity on the culture market. Part Two is built around a multiple pun on the words "alien" and "alienation." "Alienation" originally meant "sale." Marx used the …

Recording of Satoshi Sumitani's Quark-G.