Recording of Durand Begault's Funny Death. "The composition invites the listener to consider the movement of sounds and the synthetic space which they move through. Funny Death should be listened to in darkness so that concentration of the movement may be facilitated." - Durand Begault

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

Recording of Will Eisma's "Le grand silence d'un seul oiseau" ("The great silence of a single bird") for tape. During World War II, a network of 40,000 km of trenches crossed South Flanders and the North of France. Still today, there remains part of these trenches as a long underground tunnel somewhere around Metz and Verdun. The composition represents an imaginary underground journey from Calais to the Swiss border, through the infernal moles, in the gloomy and frightening obscurity of this absurd war. The poem of Ab Van Eyk tells of these horrors: "Someone walks forward, slowly spitting out his lungs, while a bird pass near me, the gas ......... The night shows fiery angels, among the lights of the "no man's land "; until the twilight silence arrives, the great silence of a only bird, just before sunrise raspberry color." The piece was composed and realized in the studio Five Roses in April 1981.

Guest artist recital performed at the UNT College of Music Recital Hall

Recording of Daniel Arfib's "L'imminence de la lumière" ("The imminence of light"). It is one of the several pieces of computer music Arfib created as a researcher and composer.

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.

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 Klaus Röder's kristallisation I. The material of this piece are tape recordings of triads played with the guitar. 26 tape loops contented 4 triads each on 4 different channels. The pitches were chosen such as to build a cluster with the extent of one octave by simultaneous reproduction of all 4 channels of one loop. The loops differed in pitch and were arranged in chromatic order so that the 'lowest' loop extended from E1 to Dis1 and the 'highest' one from E1 to Dis2. Then from the tape loops special parts were copied to another tape in a fixed order. By taking either the front or the back part of a tape loop variations in tone color and volume could be made ( loud, clear, hard-swinging: font of the loop; silent, dark, smooth-swinging: back of the loop). The copied parts were cut into pieces according to their duration of tone and then they were put together again. Sequence, color and duration of the tones were provided by the score. Tone color and duration change from tone to tone so that there is a fluctuating impression.The whole tape consists of several thousands of cut pieces that were stuck together. …

Recording of Maggi Payne's Ling, st/quad with photomicrographic slides. Major concerns of the work are spatial location and modulation and timbral complexity. Processes involved include extensive multi-tracking in order to build up textures, and to keep four tracks consistently separated throughout the process of composing. By pre-mixing and relaying of pre-mixed tracks I frequently use up to thirty-six tracks, finally mixing down in both quad and stereo formats. Ling was composed using the Moog III synthesizer and a set of very sharp resonant seismology filters made by Ling.

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 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, which critic Paul Lehrman called "one of the most devastatingly beautiful pieces of electronic music I have ever heard", 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 Ivan Patachich's Ludi Spaziali for piano and tape performed by Erzsébet Tusa (piano) and sound engineered by Peter Winkler at the studio of the Hungarian Radio. The purpose of the piece was to widen the sound and technical possibilities of the piano through means of electro-acoustics by modulations of piano sounds and by synthetic sounds and spatial movements.

Recording of Bogusław Schäffer's Maa'ts for tape (4-lane). The composition if a collage for voices and electronics. The choir sings in harmonically exact microcompositions.The piece was produced in February 1981 in the studio of the Technical University Berlin.

Recording of Zoltán Pongrácz's Madrigal for tape. The aim of the composer was to create a madrigal, one of the most aristocratic of the choral genres of the Renaissance, through electronic means. He uses the characteristics of the Italian madrigal as an element of the musical color to create effects of the Gothic choral music. The raw material is based only on the recitation of the sonnet, as well as on sounds sung at various frequencies by the choir. Pongrácz also calls this work a concerto, but not in the traditional understanding of the genre, particularly in the case of the conception and the formal structure; he calls it such because of the contrast between the cymbalum and the spectra of the oscillators. Madrigal was realized at the Studio for Electronic Music of the Hungarian Radio in Budapest.

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 Jonathan Harvey's Mortuos Plango, Vivos Voco, for electroacoustic sounds processed by computer. The piece was created at the IRCAM. This piece relates to his experiences at the Winchester Cathedral and based on the tenor bell there with the incription "Horas avolantes numero mortuos plango: vivos ad preces voco." This text is echoed by the voice of the young boy. The pitch and the temporal structure of the piece is entirely based on the very rich and harmonically irregular spectrum of the bell, structure which is neither tonal, nor dodecaphonic, nor modal in the manner Western or Eastern, but was completely unique. The eight sections of the piece represent each of the lowest principal partials.

Recording of Joe Davidow's "Music for two flutes and tape." All of the sound material for the tape was originally played on the flute. The studio processing has has the aim of enhancing the inner harmonics and enriching the more obscure instrument sounds, bringing them to the forefront in inter-structural relation to the two live flutes. Breath, which is the original source of all the sound in the work, is itself an intricate part of the sound color relationship, together forming a structure of interweaving live and processed flutes, counter posing the real and surreal.

A recording of John Celona's Music in Circular Motions. "Music in circular motions" was produced using DISTRA, a real-time polyphonic 4-channel spatial movement computer performance program created by the composer for a New England Digital Synthesizer at the University of Victoria, British Columbia. The control language for DISREA is called "Moxie, written by Doug Collinge, and is a set of XPL procedures which deal with events in real-time. In DISTRA, the composer uses a keyboard and CRT terminal through which programmable controls are utilized during composing and performing. Pitch (available in equal - and 31- tone temperament as well as just intonation) is input through the keyboard and orchestrated in real-time with varieties and variations of spatial movement, multi-segment envelopes, wave shaping FM, volume controls, filter effects, delays, and tempo changes. In addition, several automated routines are available procuring program switching of spatial distribution patterns, volume cycles, sequential execution of envelop arrays, modulation ration and index arrangements, Changes may be input on a micro-level (e.g., replacing c:m rations or selecting new envelopes during ongoing sound events) or on a macro-level where larger compositional contexts are manipulated. Thus, the composer operates synchronously on three interactive levels: performer (playing instruments-conductor (shaping and …

Recording of Karen Rehnqvist's Musik für värt klimat

Recording of Michel Redolfi's "Naissance et agonie de ma lampe de chevet" ("Birth and agony of my bedside lamp").

Recording of David Rosenboom's "Nazca liftoff et Time Arroyo." David Rosenboom: Nazca Liftoff and Time Arroyo. Nazca Liftoff and Time Arroyo are two sections of a series of seven pieces composed for the album, "Voyage Futur." These are two examples of what the author calls "high performance." These pieces are completely based on algorithms. Direct actions to the computer have the effect of directing the algorithm process to crucial branches and selecting sets of musical materials and / or relationships with what the program performs. All sounds are created by the author with "Key" controlled by computer with digital sound generation and "Patch-IV".

Recording of Ulrich Suesse's Oboe. There are basically two considerations for the application of tape 2 :1) It can be a source of inspiration during the performance and/or 2) It can be a source for "overloading" the piece, bringing it near the breaking point. Its actual application (or non application) depends on the intention of the performer. An existing version of tape 2 can be used or a new, unique, completely unknown version can be created: a copy of tape 1 is to be used as the source material; it should be spliced apart, rearranged and mixed "BLINDY", yet with respect to the following 6 categories: a) SOUNDLAYERS are superimposed pieces of pieces of tape (dubbing); b) STINGS are anything with crescendo (to be realized at the performance through volume control); c) HIGH NOISES are pieces of tape at doubled, tripled playback speed with or without hiss; d) POINTILLISM is interjecting anything in short attacks (for instance through starting and stopping the tape); e) WAVES are done through various glissando-like speed manipulations; f) LOW NOISES are pieces of tape at lower playback speed with or without reverberation.

Sound recording of members of the Oral History Association conducting a meeting in 1981.

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.