The first part of the jazz hour (second hour) of Music USA, including tune selections and an interview with John Lewis.

The second part of the jazz hour (second hour) of Music USA, including tune selections and an interview with John Lewis.

The first part of the jazz hour (second hour) of Music USA, including tune selections and an interview with John Lewis.

The second part of the jazz hour (second hour) of Music USA, including tune selections and an interview with John Lewis.

The first part of the jazz hour (second hour) of Music USA, including tune selections and an interview with John Lewis.

The second part of the jazz hour (second hour) of Music USA, including tune selections. The interview occurs in Part I.

The first part of the jazz hour (second hour) of Music USA, featuring the music of John Lewis.

The second part of the jazz hour (second hour) of Music USA, featuring the music of John Lewis.

Recording of Sandra L. Tjepkema's Aubade. This aubade, a serenade whispered into a lover’s ear, just before dawn: It is meant, of course, as a type of erotic poem; but it is not the text alone but the finished product which constitutes the poem. The words (in English) along with complementary phonetic signs and tremulous sighs, seek out the familiar images of love poetry. Phonetic variations on the vocabulary and the breathing of sleeping, dream-talking lovers, the more literal interpretation of such images as tides-on-the-beach, stirring of bedsheets, comforted nightmares, quick leave-fakings, whistling-in-the-dark: these are the elements of this serenade.

Recording of Claude Colon's Diastasis 3.

Recording of Hildegard Westerkamp's Fantasie for Horns I. The sound sources for this piece are taken from the acoustic environment. They are: Canadian trainhorns, foghorns from both the Pacific and Atlantic coasts of Canada, factory and boathorns from Vancouver and surroundings-horns that Canadians hear in daily life. Additional sound sources are an alphorn and a creek. Listening to the various horns in the collection intrigues the listener because of the way their sounds are shaped and modulated by the surrounding landscape. Some horns echo only once, others many times, their sounds slowly fading into the distance. One foghorn has an echo that is an octave lower than the actual sound, another is an octave higher. A trainhorn's echo is half a tone lower as the train approaches, but the same pitch as it passes. Each horn acquires its unique sound from the landscape it inhabits. This strong interaction between these sounds and their environment gave the inspiration to work with this material. Horn sounds are interesting for another reason: they rise above any ambience, even that of large cities. They are soundmarks that give a place its character and give, often subliminally, a "sense of place." Fantasie for Horns I …

Recording of Mark Schubert's Goodbye Black. Originally, “Goodbye Black” was to be for percussionist (solo) and tape. However, until I have the percussion part finished I feel the tape can stand alone. It is dedicated to the memory of Henry Black and his unique apartment complex in Iowa City called “Black's Gaslight Village.” - Mark Schubert, composer

Handwritten program lists for Music USA, 1978-1981.

Recording of David Keane's In Memoriam: Hugh le Caine. Hugh le Caine (born in 1914) died in the summer of 1977 after a life devoted to the world of music. He is perhaps best known for his inventions in the field of electronic music such as touch keyboards, spectograms, serial structure generator, multiplier (play-back equipment), polyphone. He is also important for his works, his assistance in establishing the first electronic music studios in Canada (at the University of Toronto in 1959 and at McGill University in 1964) and certainly for his vast knowledge in many disciplines and his generosity to share this knowledge, accompanied by encouragement, with the many composers who were in contact with him. "In Memoriam: Hugh le Caine" is dedicated in recognition by a composer indebted to Doctor le Caine. This work is derived from two extracts of "Dripsody" from le Caine (1955).

Recording of Michel Redolfi's Lune et triangle. Made to lead one's ear in a world of acoustic and psychic duality. Among these dualities, one can perceive separately at the same time or not all the following couples: Concrete / Abstract Far / Near Signal / Noise Anecdotal / Acousmatic Dense / Noisy Pure / Saturated Inside / Outside Tension / Release "Lune et triangle" is the last part of a series of works composed with computer means. Like "Nuit solaire," a digital synthesizer that allowed the integral synthesis of all the physical, temporal and spatial parameters of the work, no studio manipulation was subsequently requested on this synthesis.

Recording of Iván Patachich's Metamorfosis per marimbafono e magnetofon. This work belongs to the family of live electroacoustic music, i.e. a live instrumental play with pre-recorded accompaniment on tape. The work consists of 3 levels (parts one and two are for marimba and the third is the electronic part). One of the parts for marimba is recorded on tape. The electronic transformations of this recording were made afterward. Finally, the original recording and its transformations were mixed to make the band. In concert, the other part for marimba is played simultaneously with the tape. The work consists of 5 parts. In each of the parts the electronic transformations are: the change of frequency, the control of the height by amplitude (envelope follower, envelope generator), feedback, modulation in rings, filtering, and the triggering of sounds beyond a volume threshold. The pre-recorded recording was originally quadraphonic. The rhythm of the composition is free with an exception to the third part which has a measure of 5/8. Work performed at the Electronic Music Studio of Radio Magyar Budapest with the participation of sound engineer Peter Winkler. The marimba part is played by Gabor Kosa.

Recording of Åke Parmerud's Närheter. The title of the piece is a plural form of the word "closeness," which is rather untranslatable. The piece is a text-sound-composition, and was commissioned by the Swedish Radio. A large part of the piece is inspired by various sleep and dream manifestations. The text was written by the Swedish author Ella Hillbäck. Throughout the piece, even without knowing the meaning of the words, I believe one can feel the different "scenes" taking place. The first part of the piece is sort of an "ultimate story of creation,” at the same time implying the first phase of sleeping in a state of half consciousness. The following part of the piece is "a vision of a declining culture,” looked upon from a series of different angles. The end of this piece is built on the Swedish word for dance, which keeps falling apart. This second part also reflects the state of deep sleep where each dream becomes a part of the "collective" dream consisting of different scenes and different levels of "reality.” These "scenes and levels" are in an extrapolated sense, taking place and existing simultaneously at the same place and the same time. The level …

Recording of Paul Berg's I Never Knew You Cared. This piece Cared was programmed in PILE, a language for sound synthesis, and executed on a PDP-15 computer at the Institute of Sonology, Utrecht. The program for I Never Knew You Cared can be considered a description of the piece as well as the rules for producing it. When the program is started on the computer, the piece follows in real-time, without any further intervention or manipulation. The synthesis technique is an adaptation of Hohn Chowing's frequency modulation technique.

Recording of Yvan Szekely's Les paysages en dehors de la terre. “Les paysages en dehors de la terre” was written in 1978. The sound material of this work consists of three layers: a) the sounds of the violin and percussion b) the synthetic sounds c) the manipulated sounds / playbacks to countdown, changes in speed. The composition has a two-way, stereophonic structure. The movements contrast with each other.

Recording of William Schottstaedt's Sandcastle. This was composed between January and February 1978 on the PDP-10 digital computer at Stanford University's Artificial Intelligence Center. All sounds were created using non-linear synthesis techniques, mainly frequency modulation and Waveshaping.

Fall/Spring performances program book from the 1977-1978 school year at the North Texas State University School of Music.

Student performances program book from the 1977-1978 school year at the North Texas State University School of Music.

Recording of Rolf Enström's Sequence in Blue. The Swedish Radiocorporation made the piece on request. The first part of the piece was originally made to fit a sequence of blue infrared pictures (dark blue night images, hence the name). Enström continued working with the music in order to give it a life of its own without pictures. The different parts are visions of different "imaginary landscapes" or moods.

Recording of Reynold Weidenaar's Simple Ceremony. The program used in this piece is entitled AM1. It allows the user to transform one amplitude-modulated signal (double sideband without carrier) into another. Each AM wave is created by multiplying tow-sampled waveforms (carrier and modulating wave) together.