Recording of Hugh Le Caine's Invocation. The piece opens with a trio of three recorded sounds: a glass that is broken with a hammer, a ping-pong ball hitting a racket, and a drop of water. These sounds are the "instruments" used throughout the piece. Drips are configured as fast ascending and descending glissandi. A series of chords is constructed from a sustained movement of glass stamps. The sound of the ping-pong ball - from the left to the right - gradually accelerates. Severe rumbling and sharp joints appears as sudden changes in channels multiply. The introduction of these gestures disrupts the orderly progression of loops and the inclusion of small strips of paper connected to the ribbon which produces rough and jerky sounds further accentuate this breaking effect. Towards the end of the piece, sustained sounds are played out in a chord, but as soon as this effect is installed, the tape slows down and stops, as if someone had unplugged the music player. Then we hear a particularly violent sound of glass breaking.

Recording of Hugh le Caine's Ninety nine Generators. The title refers to the 99 organ sound generators sensitive keys - a separate generator for each note of the keyboard that can all be operated simultaneously. Le Caine here uses a resonance pedal and a device that can change the pitch to produce a vibrato or long glissandi impossible to achieve on an organ. The particular reverb of this piece is caused by the unusual acoustics of the place where it was realized.

Recording of Hugh le Caine's Dripsody. It is an study for variable speed recorder. It was composed in one night. Le Caine used a recording of a drop of water falling into a bucket, which he re- recorded different speeds, obtaining the heights of a pentatonic scale. Using 25 connectors and the variable speed tape recorder, it produced thousands of sound effects. Dripsody begins with the original sound of the water drop, repetition loop. Shortly afterwards, by adding more loops, the density of the sound increases and an arpeggio figure is produced. The complete work, lasting one minute and twenty-six seconds, was finished at 7.30 am, and Le Caine played it for those who arrived at the laboratory.

Recording of Włodzimierz Kotoński's Etude pour un seul coup de cymbale.

Recording of Bor Turel's Sonotranjosti.

Part I of the first hour of Music USA for broadcast on Christmas Day in 1957.

The entire program for the jazz hour (second hour) of Music USA, aired on November 23, 1956. This program features Hungarian jazz musicians who sent a recording to Conover shortly before the Hungarian Uprising of 1956; this hour was apparently was quickly assembled to replace the original program #695-B which had been recorded in October, but set aside for this replacement. The musicians remain unnamed, presumably for their safety, as Conover notes that it is unknown whether the musicians in the recording were still alive. Gerry Mulligan, Tony Scott, Quincy Jones, J.J. Johnson, and Billy Taylor comment on the musical selections.

Recording of Julio Roloff's, Quintaesencia. This piece features a wide ambience of frequencies, Roland piano improv, and electronically produced sounds. The frequent changes in energy and direction allow for free flowing ambient sections and intense section with strict rhythm.

An interview with Woody Herman, Bobby Hackett, and Louis Armstrong, conducted in late June of 1955, in connection with the performance of Louis Armstrong and His All Stars at the Carter Barron Amphitheater, Washington, D.C.

The first part of Willis Conover's extended interview with W.C. Handy. This recording is the raw audio, and includes a glitch in the tape in the opening seconds, and other preliminaries before the interview begins.

Willis Conover interviews Art Tatum, with selected Tatum recordings. Playlists and schedules within the Conover collection confirm the program was assembled in May, but Tatum's performances in Washington, D.C. in early April provide an approximate interview date.

The entire program for the jazz hour (second hour) of Music USA, including tune selections and an interview with Kai Winding. This is the first interview conducted for Music USA.

Audio recording of Donald E. Chipman interviewing with Lamar Hunt. Hunt was the principal founder of the American Football League (AFL) and Major League Soccer (MLS). He was also the founder and owner of the Kansas City Chiefs (formerly known as Dallas Texans). Hunt passed away on December 13, 2006.

Interview with Nat "King" Cole by a Voice of America interviewer identified as Walter. The mention of Cole's NBC television show narrows the possible date range to 1956 or 1957.

Willis Conover interviews entertainer Danny Kaye, who was serving as an ambassador-at-large for the United Nations Children's Emergency Fund (UNICEF).

The entire program for the jazz hour (second hour) of Music USA, featuring the music of Duke Ellington, with selections from the 1956 Newport Jazz Festival, including the entirety of "Diminuendo and Crescendo in Blue." This program was broadcast on February 6, 1957.

Part of the jazz hour (second hour) of Music USA, including tune selections and an interview with Milt Gabler. "Laura," the last selection in this part, was not included in the final broadcast.

The first part of the jazz hour (second hour) of Music USA, including tune selections and an interview with Bob Thiele. The interview with Steve Allen occurs in Part II.

This episode of News Close-Up offers "a preview of July, 1960," in a program about U.S. politics and the upcoming presidential election.

The entire program for the jazz hour (second hour) of Music USA, broadcast July 22, 1959. This episode was the third of a series following Conover's trip to Poland earlier that year, and featured the second part of the first concert at the Warsaw Philharmonic Hall during Conover's visit.

The entire program for the jazz hour (second hour) of Music USA, including tune selections and an interview with Bob Shad, director of artists and repertoire (A&R) at Mercury Records, broadcast March 7, 1956.

The interview which accompanied Music USA #551-B, broadcast July 2, 1956, featuring Marshall Brown, John LaPorta, and four Farmingdale (New York) High School students.

One of two reels of music from Trinidad found in Willis Conover's collection. The artists and recording date have not been determined.

The entire program for the jazz hour (second hour) of Music USA, broadcast July 23, 1959. This episode was the fourth of a series following Conover's trip to Poland earlier that year, and featured the first part of the second concert at the Warsaw Philharmonic Hall during Conover's visit.