Recording of Ramon Zupko's Metacycles

Recording of Lucien Goethals' Contrapuntos

Recording of Luctor Ponse's Nacht

Scrapbook of materials including photographs, letters, newspaper clippings, performance programs, and various other notes and ephemera documenting the activities of the North Texas State University One O'Clock Lab Band during 1966.

Scrapbook of materials including photographs, letters, newspaper clippings, performance programs, and various other notes and ephemera documenting the activities of the North Texas State University One O'Clock Lab Band during 1966.

Film footage (no audio) believed to be of the 1966 State Department-sponsored tour of Europe by the A Cappella Choir of North Texas State University, found with film reels in the Leon Breeden Collection.

The One O'Clock Lab Band with Leon Breeden and Stan Kenton in Los Angeles, recorded by the ABC television network, recorded April 4, 1966. Lab Band personnel are: Saxophones: John Giordano, Tim Bell, Lou Marini, Ray Loeckle, Tom Boras | Trumpets: Galen Jeter, Larry Ford, Bill Stapleton, Jay Saunders, Jim Scaggiari | Trombones: Mike Heathman, Ray Campbell, Connie Seidel, Joe Randazzo, Rick McCarthy | Rhythm: Dan Haerle, piano; John Monaghan, bass; Ed Soph, drums; Tommy Bruner, guitar; Bill Farmer, vibes

Film footage (no audio) believed to be of the 1966 State Department-sponsored tour of Europe by the A Cappella Choir of North Texas State University, found with film reels in the Leon Breeden Collection.

Film footage (no audio) believed to be of the 1966 State Department-sponsored tour of Europe by the A Cappella Choir of North Texas State University, found with film reels in the Leon Breeden Collection.

Fall/Spring performances program book from the 1965-1966 school year at the North Texas State University School of Music.

Recording of Bengt Hambraeus' Doppelroho II. The title indicates that Hambraeus has used as his basic material the range of tones produced by an organ. In this work timbral manipulation becomes a new compositional element. The importance of the organ is immediately established not only in its exclusive use, but as one of the most effective timbral fillers of the gap between live and electronic music.

Photograph of Stan Kenton, surrounded by a small group of children and adults, signing autographs. He is seated at a desk and there is a blackboard with music staffs behind them. Crossed out on the back of the photograph: photo by Jim Sloan; Kenton clinic, U. of Redlands, 1966.

Large group photograph of Stan Kenton, staff, and students at the first jazz clinic at Redlands University, CA.

Recording of Rainer Riehn's Chants de Maldoror.

Joseph Sadlik of the Voice of America interviews Czech bassist Jan Arnet.

Recordings from the 1966 Prague Jazz Festival.

This work was made almost exclusively with the voice and Microntage.

Commissioned by Chilean pianist Carla Hübner, and premiered by her at the Latin American Music Festival, Bloomington, Indiana, in 1966. In Plectros II the composer extends the idea first explored in his Plectros I - the opposition of two different worlds of sounds. It requires the interpreter to extract "electronic" type of sounds from the piano using both the keyboard and the inside of the piano. No special mallets are required, and the pianist uses fingernails, fingertips or the palm of the hand to obtain harmonics, resonances, and glissandi, or to produce clusters and a variety of different attacks. On the other hand the tape part, produced at the Columbia-Princeton Electronic Music Center in New York, has synthetic sounds - all electronically produced - creating artificial quasi-piano type of sonorities. The goal is to achieve a blending which gives the listener an impression that it is not clear if the sound is coming from the instrument or from the loudspeakers. Plectros II is not a dodecaphonic composition, nor a "prepared piano" one.

A list of programs for the year 1966 which substantially consisted of performances from musicians and groups in other countries.

Recording of Boguslaw Schaeffer's Symphonie. "Towards the end of 1964, I began work on a large format electronic work. From the beginning, I called it Symphony, not to obey the spirit of contradiction, which is a way of creating a long time out of use, but being convinced that this name is likely to new applications, there especially where it is a matter of simultaneously resonating a sound matter of very disparate origin, thus proceeding by symphonic means. That was our idea of departure. Yet, already in the course of composition, I suffered the magic of the adopted denomination, so that at the end of a certain time I ended up asking myself to write a work of a structure, a format and a symphonic emotional message. Therefore, the essential problem was not to use the electronic language to express only traditional musical ideas, but rather to proceed by truly electronic means without ever going beyond the framework. Moreover, it was a question of rediscovering auditory laws, of developing new means of expression from an electronic mode of thinking and proceeding. Both in its original conception and in its accomplishment, of which a considerable share of merit belongs to Mr. …

Letter from David F. McAllister to Padma Rangachari discussing her admittance into the Wesleyan University program in Ethnomusicology.

Letter from Prof. P. Sambamoorthy referring Padma Rangachari for admission into a Ph.D. program.

Fifteen exercises, scales and arpeggios, and cadences for solo piano

Six chord studies for piano in C minor, F-sharp minor, A-flat major, F minor, E major, and C-sharp minor