Sound recording of classic Texas songs performed by Francis Edward (F. E.) Abernethy. This recording was produced to accompany the first edition of Abernethy's book Singin' Texas, Texas Folklore Society publication number ExB 18. Some of the songs are complete but others are only partially performed. Between songs are short spoken portions explaining the lyrics and history of the music. Some of the songs are supported and woven together by a narrative while others are only partially performed, leaving the rest of the song to be described and summarized by Abernethy. The songs "Cuba" and "Great God, Attend" are sung by the congregation at Harris Chapel near Marshall, Texas for their 100th Anniversary in 1967. The song "Give the World a Smile" comes from the Stamps-Baxter Music Company archive. And the song "The Great Speckled Bird" is performed by the East Texas Strings Ensemble.

Sound recording of classic Texas songs performed by Francis Edward (F. E.) Abernethy. This recording was produced to accompany the first edition of Abernethy's book Singin' Texas, Texas Folklore Society publication number ExB 18. Some of the songs are complete but others are only partially performed. Between songs are short spoken portions explaining the lyrics and history of the music. Some of the songs are supported and woven together by a narrative while others are only partially performed, leaving the rest of the song to be described and summarized by Abernethy.

Recording of Kristi Allik's "What if...". The title refers to the composer's most common thought during the creation of the composition; the work was the result of constant questioning and exploration, mainly in the area of timbral synthesis and sound juxtaposition.

Jazz Lecture Series presentation by Wayne Andre on April 19, 1983 at 9:30AM at the UNT College of Music. Includes lecture and performance by Wayne Andre, trombone, interspersed with questions from the audience.

Jazz Lecture Series presentation by Wayne Andre on April 19, 1983 at 2:00PM at the UNT College of Music. Includes lecture and performance by Wayne Andre, trombone, interspersed with questions from the audience.

Recording of Larry Austin's Clipperfix-Supersong.

Jean-Baptiste Barrière: "Chréode " is a borrowed term from morphology and biology (from the Greek "cre" it is necessary," and "Odos" path: Necessary path). It is used here as a metaphor for a systematic and intersecting investigation of the material and the organization. It is about my time of a generic title for a set of computer works, of which "Chréode I " is the first element. Although the materials are very worked, the attention in this piece carries more specialty on the organization. "Chréode i " is the first step towards a grammar of processes that I would like to attempt to elaborate. This research on musical processes, their fields of action and their limits, has been thought as a strategy of approach to the musical territory, as it is found revolutionary by the possibilities offered by the computer. A very general destination for this project was experimenting with different types of organizations, and a higher level of learning about the time structures formally. The compositional structures as well as partitions have been elaborated in the programming environment forms with the help of Pierre Coine and Yves Knob. The material sound has been chosen to allow a certain type …

Recording of Jean-Baptiste Barriere's Chreode I. The title Chreode I serves here as a metaphor for a systematic and intersecting investigation of material and organization. At the same time, it is a generic title for a set of computer works, of which "Chreode I" is the first element. Although the materials are very elaborate, the attention in this piece is more specifically on the organization. This research on musical processes, their fields of action and their limits, was conceived as a strategy for approaching the musical territory, as it is renewed by the possibilities offered by the computer. A very general destination of this project was therefore to experience different types of organizations, and at a higher level to learn how to structure them in time and formally. The compositional structures as well as the scores were developed in the FORMES programming environment with the help of Pierre COINTE and Yves POTARD. The sound materials have been chosen to allow some type of control over the timbre, focused on a small number of very compositionally relevant parameters. Thus the work on the timbre is essentially based on the compression and the expansion of the formants or the spectral envelopes, this …

Recording of Juan Marcos Blanco's Huellas.

Recording of Maria Luisa Bon's Shift of Emphasis. The piece was composed at the Computational Sonoma Center of the University of Padua. It is based on 21 complex sound blocks, each having a different structure and origin.

Interview with Mrs. Walter Balloon, from Silver Point, Tennessee and daughter of a preacher. The interview includes discussion from Mrs. Balloon on prominent figures in and around the church, with a focus on her father (Thomas Henry Busby) and G. P. Bowser. The interview also incudes Mrs. Balloon recounting her childhood.

Interview with Barney Christy, one taking place on March.3,1983 and 1985, discussing his life experiences.

Interview with Harrell Cotner, discussing his life experiences and viewpoints.

Recording of Gabriel Brnčić's Polifonía de Barcelona.

Recording of George Skip Brunner's Three Spheres.

Recording of Roland Cahen's Métabole n° 1. The atmosphere of the piece is that of a place of "dark clouds like the sky of Flanders." It was realized at the IPEM of Ghent in Belgium headed by Lucien Goethals. The piece is one of Cahen's first musical compositions.

Recording of Lelio Camilleri's Comeclose and Sleepnow. The piece is made up of six sections. In each section are developed parts of the transformed text and are highlighted sentences or words of the poetry. All the sound material of the piece is composed only by the transformation of the recited text. "Comeclose and Sleepnow" is based on the namesake poetry by R. Mac Gough, recited by Stephen Montagne.

Recording of Lelio Camilleri's Overfall. Transformed piano sounds and sound structures realized by means of voltage control make up the sound material of the piece.

Recording of Lelio Camilleri's Tess In Stonehenge. The piece explores the relationship between fast sound structures and sounds with a longer duration and different types of envelopes. The sound equipment consists of filtered white noise bands, frequency modulated bands, and sound structures obtained by the control voltage technique.

"Comeclose and sleepnow" is based on the homonymous poem by R. Mac Gough, recited by Stephen Montagne. The piece is composed in six sections. In each section are developed parts of the converted text and are highlighted phrases or words of poetry. All the sound material of the piece was composed solely by transforming the recited text.

"Incontro con Rama" was created for the first time in 1982 after a work of absolute complementarity between the indications, the aspirations of Luigi Ceccarelli and the technical practice of Renzo Brocculi: a splendid creature generated in a single week of close engagement with two trombones, a tuba and a complex electronic device for delaying and accumulating sounds, built by the author to do this work. The writing of this work moves on two main tracks: on the one hand the preference to the timbric dimension and to the spectral microvariations, on the other the almost complete absence of melody, in the usual sense of the term. The reference to the rhythm of breathing, as an alternative to the heart rhythm (which music usually favors), however, is the only supporting base of all the architecture on which I conceived this piece. Certainly these that we have mentioned are rules that postpone more to oriental conceptions of sound that to those of our music: in "Incontro con Rama" we can clearly recognize the "OM", the fundamental sound that generates the universe according to Indian mythology. Indeed we can say that certainly "Incontro con Rama" not other than the "OM" in its …

Recording of Chris Chafe's "In a World" for cello and computer sound. Computer sounds were realized at Stanford University's Center of Computer Research in Music and Acoustics. Software was created to control legato phrasing of singing voice models, and to perturb them in direction of other instrumental sounds,

Recording of Henri Chopin and Larry Wendt's Voyage to California.

Recordings of Marek Choloniewski's "Rag, Rag, Rag" (includes five recordings, the last of which is a reduction). The piece is a transcription of the constructions of instrumental music with added electronic improvisation. Traditions of contemporary music meet those of jazz and rock, giving the piece a three part structure.