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.

Scrapbook of materials including photographs, letters, newspaper clippings, performance programs, and various other notes and ephemera documenting the activities of the North Texas State College One O'Clock Lab Band during 1950-1958.

Scrapbook of materials including photographs, letters, newspaper clippings, performance programs, and various other notes and ephemera documenting the activities of the North Texas State College One O'Clock Lab Band during 1958-1960.

This is a holograph score of Don Gillis "The Encore Concerto for Piano and Orchestra." Gillis's dedicated this his first piano concerto to his friend Joseph Kahn. The entire score is in loose white onionskin pages and black ink. It is part of the UNT Music Library's Don Gillis Special Collection, which can be accessed at <http://www.library.unt.edu/music/special-collections/gillis/the-don-gillis-collection-1>. Page 96A is an alternative re-orchestrated version that replaces the essentially chordal accompaniment presented in p.96.

Photographs of the Laboratory Dance Band performing on a curtained stage in front of an audience. The band is arranged across four inclined platforms. Most are sitting behind music desks and are playing a variety of (mostly brass) instruments. A strip of white paper taped to the bottom of the photo has the following typed upon it: "Lab Band in Best Dance Band Contest."

Photograph of the 1952-1953 North Texas State College Laboratory Dance Band performing at Perrin Field Air Base in Texas. The group of young men are situation on a stage behind music desks and a standing microphone. Club signs and a painting of a man in a suit with a woman decorate the wall behind them. To the left of the photo, a young woman, in a dress sits by a potted plant.

Photograph of a North Texas State College jazz ensemble preparing behind a curtain. The photo is taken from above at a roughly 45 degree angle, and most of the men look up toward the camera. Many of these tuxedo-clad men are located within the rows of a raked platform and sitting behind desks with sheet music. A note containing a handwritten list of the performers present and their chosen instruments is taped across the upper left corner. Another such list is written directly upon the back of the photo in pencil.

Photograph of Frank Todd, Gene Hall, Art Davis, Phil Manning, and Bill Harrison performing together on stage. Frank Todd stands behind two microphones to the far left. He's wearing black-rimmed glasses and plucking a double bass. Gene Hall stands next to Todd, wearing spectacles and a lighter colored suit while playing a clarinet. Art Davis plays a trumpet while standing in front of an unattended drum set and a piano player. Phil Manning and Bill Harrison stand close to each other on the right side of the photo, will Manning wearing glasses and playing a saxophone while Harrison plays a trombone.

Photograph of Gene Hall and the Laboratory Dance Band performing on a stage. The band is playing a variety of instruments on an inclined platform. Behind them rises a metallic statue of an eagle and a curtain bearing sparkly letters. The one clearly visible word on the curtain is "frolic."

Photograph of the North Texas State College Laboratory Dance Band performing on stage. They are wearing shirts and ties. From left to right are: a man playing a tuba; a man with his back to the camera playing a piano with its strings exposed; a clarinetist; a banjo player; and trumpeter; a trombonist; and a partially obscured drummer. Handwritten text beneath the photo says "Group simulating old style dixieland - opening number for concert in 1954-"

Admission record of Harold Leon Breeden from Columbia University's Teachers College. The record includes courses taken by Breeden, grades he received in those courses, the period of his candidacy for a Master of Arts degree in the field of Music and Music Education.

Photograph of the Laboratory Dance Band posing on a stage with their instruments. Arranged in three rows, the group primarily composed of dark suited young men sit behind music desks. A bassist and a drummer stand with their instruments in the rear row. A young woman in a black dress sits in the front row to the left side. Standing on the right side of the photo is Gene Hall, an older man wearing a dark suit and spectacles. A small sign for the American Red Cross is hanging on the right side of the curtain that hangs behind the band. Rows of auditorium seating can be seen above the curtain.

Photograph of Frank Todd, Phil Manning, Leon Breeden, Curly Broyles, and Bill Harrison playing instruments around a microphone with other performers in the background. A curtain festooned with glittering letters that spell out "Ja[zz] Frolic" stands behind the group of men. Other musicians sit at their music desks behind the foreground performers.

Photographs of Arthur Godfrey and Gene Hall sitting together during NBC's "The Talent Scout Show" that have been attached to a sheet of white paper. The first five photos features the two middle aged men in dark suits, with Godfrey sitting to the left of the bespectacled Hall. Curtains are visible behind the two. A desk microphone sits between them.

Photograph of the Laboratory Dance Band playing their instruments while facing upward toward their left sides. Most of dark suited young men are looking directly at the camera lens. Most are sitting in folding chairs behind desks covered in layers of sheet music. Three pianos can be seen arranged in an "L" shape along the top right corner, curved around the platform that the performers are seated upon. The older Gene Hall Stands off to the upper left of the photo, wearing a greyish suit and glasses.

Photograph of the 1953 North Texas State College Laboratory Dance Band performing on stage. The band of young men are arranged in three raked rows, sitting behind music desks with their instruments. Dan Alexander stands in front of a microphone on the left side of the photo. Behind him sits a man playing a piano. Gene Hall stands to the far right of the photo. A curtain hangs over a wall to the right, while four border curtains loom above the performers.

Photographs of Gene Hall and the Laboratory Dance Band on stage with Jimmy Giuffre. In the top photo, Giuffre plays a clarinet on the far left of the photo. Gene Hall holds sheet music and stands to the right with his back to Giuffre. The band is sitting behind these two men and playing various instruments. Handwritten text beneath the photos says "Jimmy Giuffra [sic] - Guest Soloist - 1956."

Photograph of the Laboratory Dance Band performing on a stage with raised platforms. Behind the stage is a crude drawing of a trombonist, a drummer, and a moose to the left. Five of the dark suited men stand at their music stands, with one man in the middle playing a clarinet while the two on either side of him play saxophones. A guitarist sits at the far left seat. Trombonists can be seen performing in the background to the right.

Photographs of the Five Front jazz combo band on the Steve Allen Show. In the top photograph, nine men stand in a line. Gene Hall is the fifth man from the left, and he is wearing a dark suit and glasses. Steve Allen stands next to him on the right, wearing a gingham shirt, ribbon necktie, and slacks that have been tucked into cowboy boots. The bottom photograph shows the band members performing on a mat atop a dirt floor. Most of the suited young men are seated behind music stands. Onlookers can be seen milling about in the background behind a white fence.

Photograph of the Laboratory Dance Band posing on a stage with their instruments. Arranged in three rows, the group primarily composed of dark suited young men sit behind music desks. A bassist and a drummer stand with their instruments in the rear row. A young woman in a black dress stands at a microphone in front of the group. Standing on the right side of the photo is Gene Hall, an older man wearing a dark suit and spectacles. A small sign for the American Red Cross is hanging on the right side of the curtain that hangs behind the band. Rows of auditorium seating can be seen above the curtain.

Photograph of the 1952-1953 North Texas State College Laboratory Dance Band performing at Perrin Field Air Base in Texas. The group of young men are situation on a stage behind music desks and a standing microphone. Club signs and a painting of a man in a suit with a woman decorate the wall behind them. To the left of the photo, a young woman, in a dress sits by a potted plant. Handwritten notes on the back of the photograph identify the band members, their instruments, and the young woman (Shirley Murray).