The National Museum of the Pacific War presents an interview with Harold Snider. Snider joined the Army Air Corps around 1939. He completed flight training, and was assigned to a B-17 with the 7th Bomb Group. They deployed to Honolulu on 6 December 1941, and landed at Hickam Field during the Japanese attack on 7 December. He describes the events of this day, landing amidst explosions and smoke. Once they landed, they jumped into a ditch while being strafed by the Japanese. In January of 1942, they were ordered to continue on to Australia and the Philippines, and he describes flying through the South Pacific. In Del Monte, Mindanao, Snider and his crew picked up General MacArthur, his family and staff and flew them to Alice Springs, Australia. They later flew missions out of Del Monte, bombing a Japanese Navy task force. They flew reconnaissance missions over Guadalcanal, Rabaul, Bougainville and the Solomon Islands during the Guadalcanal Campaign in late 1942. They continued missions through mid-1945, and returned to the US after the war ended.

Interview with Mrs. Johnnie Salmon, discussing her life experiences and viewpoints.

Interview with Mrs. H. H. Creed, discussing her life experiences and viewpoints.

Interview with Vivian Cochran, who discusses her life experiences and viewpoints.

Recording of Georges Boeuf's Les filles du sommeil. This work was inspired by several paintings by Gustav Klimt which depict women according to the expression, "sleeping beauty". The composer has segmented this work into 4 movements: 1. Pluie d'or, 2. Écran de Nuit, 3. L’œil Profond, 4. Éloge de l'Apparence. This work has been dedicated to Rapha'l de Vivo.

The composer states: "Often the relationship between art and science is obvious. Not only on the technological level but also processions of thoughts and themes are often reflections. Contemporary ideas about chaos tell us of the immeasurably immeasurable consequences of everyday actions that may be generated by complex and incontrollable situations in the end. The masses, formed of structures of sounds and music often show me connections to these thoughts that are remarkable and I can be struck by the poetic force that they generate because of the causal and continuous relationships, despite the fact that it actions that are of a very accidental nature. In this music I tried to group these elements and to build a sound tissue that spontaneously generates a sense of openness and harmony through the construction of individual algorithms. By exchanging mutual sound characteristics but of different formats, a convergent evolution of 192 individual voices takes place to a precise position in the spectrum of an octave, developing a dense, living and compact sound layer."

Recording of Klaus Roder's Voice Dance. The piece consists of eight different patterns. The patterns are made by a small group of separately sung and recorded tones that have been put together. Each pattern has a fixed musical structure with a typical rhythm.

Recording of Ákos Rozman's Klagovisor. This work is written in memory of the composer's mother. The use of an old dried-out zither is used within the piece. There are also sounds of strings and crying, wailing vocal fragments from Hungarian folk music groups. The piece consists of thirteen short movements that blend into each other. Text by Isabel Thomson, was heavily inspired by Ákos Rózmann.

Recording of Annette Vande Gorne's Action/Passion. It is the result of a close collaboration where choreography and music were designed in interaction. The work is inspired by inner energy and its manifestation: movement. During the show, the dynamic movements of the sounds unfold in the space thanks to a spatialized interpretation. Music and dance play on very contrasting energies such as breaths, fluids, attack/immobility, attack/movement, rebounds, journeys, falls, crushing, rotations, oscillations, flights; causing so many stages of a sound metamorphosis of matter into movement.

Audio reel from the Steven Fromholz Papers recorded Steve Fromholz's Love Songs at Wire Recordings.

Audio tape from The Black Academy of Arts and Letters recorded during their Black Music and the Civil Rights concert held in January of 1987. The tape covers the concert featuring a very well know choir director who at the recording of the tape had just turned 90. Other individuals give speeches between choral pieces.

Audio cassette from The Black Academy of Arts and Letters recorded during the Black Music and the Civil Rights Movement concert held January 18th, 1987. The concert was titled "Pilgrimage to Freedom: A reflection of the Civil Rights Movement through Song," and featured Jennifer Holliday and Tommie Stewart. The tape includes two tracks of well recorded audio of gospel singers and a large choir.

Audio cassette from The Black Academy of Arts and Letters recorded during the Martin Luther King Jr. tribute concert recorded at the Music Hall of Fair Park in Dallas Texas on January 20th, 1987. The tape includes two tracks of demo recorded audio of a choir singing. The first track is clearer than the second.

Audio cassette from The Black Academy of Arts and Letters recorded during an arts council meeting held on September 2nd, 1987. The audio on the tape is generally intelligible but overall covers summer activities and events that took place around Labor Day.

Audio cassette from The Black Academy of Arts and Letters recorded during KTXQ-102 radio interview with Curtis King for "In Black America". The tape includes two tracks of broadcast recordings that include both a live and taped interviews with JBAAL president Curtis King. The main topic of the interview is the role of the organization in the black arts and also how having a satellite program would benefit the organization.

Audio cassette from The Black Academy of Arts and Letters recorded during JBAAL's Black Living Legends award ceremony on February 2nd 1987. The tape includes two tracks of well recorded audio of the event that took place at Dallas City Hall. The event is lead by a female speaker who recognizes all speakers and performers.

Audio cassette from The Black Academy of Arts and Letters recorded during a Dallas city council meeting concerning the expansion of the Dallas Convention Center on October 14th, 1987. The tape includes two tracks of noisy and intelligible audio.

Audio cassette from The Black Academy of Arts and Letters recorded during a JBAAL board meeting lead by Curtis King on September 1st, 1987. The tape includes one track of audio that is generally intelligible but covers the topic of board membership.

Audio cassette from The Black Academy of Arts and Letters recorded during an incident report interview with a employee of a Minyards in Fort Worth Texas on April 23rd, 1987. The tape includes one track of audio that records a women talking to a male employee about an incident occurring in March of a grocery cart damaging a car in the parking lot.

Recording of Andrew Lewis' Arrivals. Arrivals was composed in the Electroacoustic Music Studios of the University of Birmingham. Arrivals takes its title from the way in which the music is continually moving towards goals and destinations, at both the macro- and micro-musical levels.

Recording of Lawrence Fritts' Tetraktys. It was composed in the University of Chicago Computer Music Studio on a Yamaha Computer-Assisted Music System. The synthesized sounds are meant to represent a vibraphone, but all sounds were created by FM synthesis.

Recording of David Keane's Epiphanies. Epiphanies is a work for solo English horn, the sound of which controls a Yamaha CX5M music computer by way of a Pitchrider (pitch-to-MIDI converter). The timbres are changed by the performer using a foot pedal, according to a pre-programmed schema. This procedure allows for the power of computer re-sources, but the flexibility of live performance. Although the character of work is meant to be that of an unaccompanied work, the CX5M voices have been designed to blend with, extend, and transform the sound of the English horn I a variety of ways. The title suggests the subtle and sometimes magical qualities that can suddenly present themselves and just as suddenly disappear. The original form of Epiphanies was created in February-March of 1987 using the resources of the composer's personal electro-acoustic music studio in Scarborough, Ontario. The work was commissioned by Vancouver recorder virtuoso Peter Hannan with the assistance of a Commissioning Grant from the Canada Council. The score and the voicing were adapted for English horn in 1990 for Lawrence Cherney. The premiere of this version of the piece was given on 1st December 1990 at the Music Gallery (Toronto).

Recording of Elżbieta Sikora's Rappel II. Rappel II was written between June 1987 and June 1988. The work is made up of various modules: evolving, they meet in ever-changing configurations. in bits and pieces, melodies, in their anachronism and their sometimes decadent rhythms, making their way through increasingly thick sound screens, until they disappear forever in the final crescendo. A fairly brief first part in which the elements are stated. A sequence with a defined rhythm, accentuated, begins the second part: under all light and in other times, it is the recall of the previous one. They are played without interruption. The technical process of transformation in real time, adds a coloring and an enlarged spatialization of certain sounds and sound groups.

Recording of Jean-Claude Risset's Voilements, performed by Daniel Kientzy, for tenor saxophone and tape. The tape was produced in Marseille (Faculty of Sciences of Luminy and Laboratory of Mechanics and Acoustics of the CNRS). The sounds recorded by Daniel Kientzy have been transformed using the SYTER audio processor designed at INA-GRM by Jean-François Allouis and industrialized by Digilog.The synth sounds were produced on an IBM-PC compatible computer using the version of the MUSICV program extended by Daniel Arfib; they were specified by instrumental gestures on a MIDI keyboard, then transcribed into MUSIC V code. This transcoding, carried out by Frédéric Boyer, allows to combine the resources of the synthesis and the real-time commands. was written at the request of Daniel Kientzy and is dedicated to Kientzy.