Recording from NPR's "Billy Taylor's Jazz at the Kennedy Center" series. Taylor interviews trumpet player Randy Brecker and Brecker and the Billy Taylor Trio play several Jazz tunes in front of a live audience.

Recording from NPR's "Billy Taylor's Jazz at the Kennedy Center" series. Taylor interviews singer Chris Conner and Conner and the Billy Taylor Trio play several Jazz tunes in front of a live audience. Also included are NPR promotional spots from the original program.

Recording from NPR's "Billy Taylor's Jazz at the Kennedy Center" series. Taylor interviews clarinetist Buddy DeFranco and DeFranco and the Billy Taylor Trio play several Jazz tunes in front of a live audience.

Recording from NPR's "Billy Taylor's Jazz at the Kennedy Center" series. Taylor interviews singer Ethel Ennis and Ennis and the Billy Taylor Trio perform several Jazz tunes in front of a live audience.

Recording from NPR's "Billy Taylor's Jazz at the Kennedy Center" series. Taylor interviews singer Nnenna Freelon and Freelon and the Billy Taylor Trio perform several Jazz tunes in front of a live audience.

Recording of Frank Corcoran's Sweeney's Vision. This work is an ecstatic sound vision and musical structure that was loosely inspired by the figure of the schizophrenic poet-outcast, Sweeney, from the Early Irish epic, Mad sweeney Buile Suibhne. The composer considers this work a four-movement "symphony" at the end of the 20th century. This work was commissioned by the Studio Akustische Kunst of WDR, Cologne and was first broadcast by WDR in 1997.

Recording of René Uijlenhoet's Filamenti I. The title of this piece refers to the impossibility of creating a steady, sustaining sound on a harpsichord. This work attempts to work through the problematic characteristics of the harpsichord and in doing so the instrument will not be spared. The composition ends with the "tuning and testing" of a new prototype. This piece was written by order of the harpsichord players Annelie de Man and Thora Johansen, with financial support by the Fund for the Creation of Music.

Recording of Elizabeth Anderson's L'éveil. This piece is the first in a cycle that explores the paradox of opposition in the sense of physical appearance as well as in the psychological reality of mankind. The piece concerns itself with the creation of the universe and its two poles. The idea of contrasts presented in the introduction are then developed on a larger scale throughout the rest of the piece.

Recording of Luz Maria Sanchez's Radio 1. This is a work for electronics that includes sounds of distorted voices.

Recording of Rubén Hinojosa Chapel's Satélites. This work was created by means of the Fractal Composer system using the calculus of the Henon Map. Most notes were generated by the computer by means of the system's real time interactive capabilities. It premiered in the Havana's XII Contemporary Music Festival.

Recording of Yves Daoust's Fête (3 mvt de Bruits). This is a work for electronics that includes 3 movements: Children's Corner, Nuit, and Fête. This work was commissioned by the Sonic Art Network (Great Britain) in which they asked the composer to create an environmental painting. The dominant element is noise: "smooth" noise, constant noise, and immutable noise made up of the sum of human machines.

Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recital presented at the UNT College of Music Concert Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

A sound recording where two experts discuss the fascinating evolution of engine manufacturing and insights into the intricate world of serial numbers, witnessing the journey of engines over the years, and exploring the factors contributing to their enduring popularity. This engaging conversation provides a captivating exploration of the engine industry's rich history and continuous innovation.

The National Museum of the Pacific War presents an oral interview with George Bailey. Bailey was a crew chief with the Flying Tigers. He recalls that many of the mechanics in his crew were not well trained when they arrived, but they learned from him quickly. He describes the dangers presented by various landing gears. He discusses the personal lives of the crew, staff, and pilots, both during the war and after.

The National Museum of the Pacific War presents an oral interview with William Schaper. Schaper joined the Flying Tigers as a crew chief and was soon promoted to hangar chief, handling all the heavy maintenance that could not be done on the field. Part of his job included salvaging carburetors and engines from crash sites. He recalls that many of the mechanics in his crew were not well trained after transferring in. Finally, he laments that much of the history around the AVG is obscured and forgotten.

The National Museum of the Pacific War presents an oral interview with Ray Amstutz. Amstutz joined the Army Reserve (Student Training Corps) while in college at the University of Tulsa. On May 8, 1943 he was inducted and went to Fort Sill, Oklahoma for processing and then to Camp Maxie, Paris, Texas for three months basic training. The Army sent him back to school at the University of Oklahoma where he finished one semester. From there, he went to Camp Claiborne in Louisiana where they were trained to lay pipelines, maintain and repair engines, construct tanks, maintain pumps, etc. Amstutz's unit was put aboard a train, shipped to Oakland, California and put aboard a Liberty ship which sailed for Milne Bay, New Guinea; this was August/September 1944. He provides a nice description of the environment aboard ship for the 18 days it took to get to New Guinea. From there, they moved to Ora Bay and started unloading their equipment at Buna where major battles had already taken place. In Buna, they went inland, built a little dam on a river, laid suction pipe down into it, set up some pumps, and laid pipeline back to the docks; filling up …

The National Museum of the Pacific War presents an oral interview with Manual Sablan. Sablan was born in Saipan and became a messenger for the Japanese police when he was a teenager. Japanese troops had occupied his family home by that time. To remain safe during bombardments, Sablan lived in a manmade cave behind the police station. He recalls seeing six American prisoners of war in the jail. When the bombing became very heavy, Sablan went to look for his mother, but fires blocked his way. Without caves to hide in, he used a machete to fashion wooden shovels for digging foxholes. He was hiding near Talofofo, having eaten nothing but sugar cane for two weeks, when he surrendered to Americans. Sablan was sent to Camp Susupe, where conditions were terrible. Eventually he was given a job at the 369th Station Hospital in San Vicente, where badly wounded soldiers from Iwo Jima and Okinawa were given medical treatment. He became a police officer in 1951 and participated in the capture of a Japanese soldier who was discovered in a cave in 1952. He became the sheriff of Saipan and then the director of public safety for the Trust Territory.

The National Museum of the Pacific War presents an oral interview with David Sablan. Sablan lived in Garapan, Saipan during the Japanese occupation and attended a strict Japanese school where he was forced to pledge allegiance to the emperor. Sablan’s father was conscripted as an interpreter for the Japanese military during the invasion of Guam. When their family home was seized, they fled to their ranch, where they were raided by the Kempeitai after Sablan’s father was suspected of being a spy. They fled to a cave, with only sugarcane to eat, until they were forced out by a fire. As they left in the darkness, they could hear a banzai charge. Terrified of the American Marines, they considered suicide. But upon discovering that troops were friendly, his father began serving as their interpreter. They were taken to Camp Susupe and given medical treatment, but Sablan's sister was so malnourished that she could not properly digest food and soon died. Sablan’s father became the chief of police in Garapan in 1944, and Sablan interned at a Navy supply department so that he could learn English. He later worked for the military government, attending school in Guam, and went on to …

The National Museum of the Pacific War presents an oral interview with Jose Mundo. Mundo was born in Rota in 1931 and attended a Japanese school in Guam until the third grade. When the Japanese invaded, he was recruited as a child laborer to help build an air base. After returning home to Rota, the first indication of war came when American planes began bombing and shooting at the base. He hid with his family in a cave above Songsong Village. It was difficult to get food, because of the danger of being shot by military planes. His younger brother died early on from complications related to food scarcity. Japanese soldiers moved the villagers to another cave and closely monitored them. Mundo recalls his great uncle being whipped for taking corn from the field without permission, and Mundo himself was reprimanded for picking a mango from a tree that once belonged to his family. Execution was a danger for anyone suspected of spying. Mundo was recruited by the Japanese troops as a scout, and he remained with them until the end of the war. He witnessed the Japanese surrender to Americans in his village and was reunited with his family. …

The National Museum of the Pacific War presents an oral interview with Jose King. King, of Korean descent, grew up under Japanese occupation in Songsong Village, Rota. Relations with the Japanese were mostly peaceful. He attended a strict but effective Japanese school. When Japanese supplies began to dwindle, soldiers stole food from villagers and threatened to kill them if they withheld it. The natives narrowly escaped mass execution and instead were put to work farming sweet potatoes. King’s family foraged in the mountains and jungles, hunting birds with a slingshot. His brother was recruited by the Japanese to hunt birds and was killed in an air raid. His uncle was wrongly accused of being a spy and sentenced to death. King and his family sought refuge in a cave during bombardments and were strafed while searching for food. Upon being discovered by American Marines, King feared that the food they provided might be poisoned. Although the military initially intended to send his family to Korea, they successfully pleaded to stay with their community. King’s family later moved to Saipan and then Tinian, embarking in prosperous trade with Allied occupation forces. He started a family of his own, and many of …

The National Museum of the Pacific War presents an oral interview with Gregorio Borja. Borja lived a tranquil life under American governance in Sumay until the Japanese invaded. Borja’s family home was seized and occupied for over a year. Natives' travel was restricted and Borja was treated harshly in school. His father and brother were forced into labor, and his brother along with several of his family and friends were killed in the Fena Massacre. Other relatives of Borja were taken to Japan as prisoners. Borja and his surviving family members were placed in a concentration camp in Manenggon, with little food or water, but were soon liberated by the 77th Infantry Division. With their homes destroyed during the preceding bombardment, they were relocated to the new village of Santa Rita. Under post-war military rule, Borja lived a happy life.

The National Museum of the Pacific War presents an oral interview with Iliff Richardson. Richardson was commissioned in the Navy in 1940 and assigned to Motor Torpedo Boat Squadron 3 as the executive officer of PT-34. After the loss of his boat in April 1942, he joined a band of Filipino guerrillas. Richardson tells of setting up radio transmitters and of the unusual features of the operations and equipment used. At the request of General Douglas MacArthur he plotted the Japanese mine fields in Leyte Gulf and he gives the details on how this was accomplished. Upon returning to the Philippines, General MacArthur met with Richardson on the USS Nashville (CL-43) and he describes the discussion. After returning to the United States, he had a seven hour meeting with Admiral Ernest J. King concerning pending court martial charges against him and tells of the outcome of the meeting. Richardson joined the Industrial Incentive Division of the Navy and he comments on his travels and speeches given to industry workers. [A copy of the manuscript written by Richardson during the war describing PT boat operations in the Philippines is in the archives of The National Museum of the Pacific War and …

The National Museum of the Pacific War presents an oral interview with Barry Atkins. In 1928, Atkins was appointed to the Naval Academy and graduated in 1932 and was assigned to the USS Tennessee (BB-43). He was aboard at Long Beach, California during the 1933 earthquake. After that, he was transferred to the USS New Mexico (BB-40). his next assignment took him aboard the USS Mahan (DD-364). In 1941, Atkins was assigned to the USS Parrott (DD-218) in Manila Bay. He was aboard the Parrott during the Battle of Balikpapan in January 1942. When Atkins returned to the US in August, 1942, he was assigned as commander of Motor Torpedo Boat Squadron 8 and sent to New Caledonia that November. His squadron became operational in New Guinea in December. He recalls setting up the PT base at the Morobe River and several patrols and encounters with Japanese shipping. In late 1943, Atkins returned to the US and asked for a destroyer. In October 1944, Atkins was given command of the USS Melvin (DD-680) at Manus Island. From there, the Melvin escorted the Leyte landing forces to the Philippines, then took up station guarding the Surigao Strait. He made a torpedo …