Interviews with area citizens and speeches of prominent guest speakers, including Allen Shivers, governor, and Tommy Cook, president of Texas Junior Chamber of Commerce. Also, a recording of Edward R. Murrow's radio broadcast of "I can hear it now", recorded July 4, 1953 from station KREL, Baytown, TX.

A 1955 radio program presenting an account of the history of jazz. Willis Conover later adapted this program's introduction for use in the Jazz at the Smithsonian television programs which he hosted.

A recording found in Willis Conover's collection of reel-to-reel tapes: Yma Sumac performs at the 22nd annual Chicagoland Music Festival, at Soldier Field.

A French-language program featuring Dizzy Gillespie performing at Birdland, along with an interview with John Hammond.

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.

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.

This is another in a series of pieces Luening made by recording himself playing flute, and then while listening on earphones, taped a second flute part over the first, and so forth.

A live recording of mambo selections. The title "Groggy's Mambo" appears to refer to Maurice "Groggy" Gervitsch, the proprietor of the Cairo Hotel in Washington, D.C., where Gervitsch organized mambo dances in 1954. The group may have been led by Buddy Rowell.

Unedited audio of Willis Conover's interview with Benny Goodman, including short statements for various broadcast services within VOA, and a longer interview presumably for Music USA #394-B.

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.

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.

The second part of Willis Conover's extended interview with W.C. Handy.

Willis Conover interviews Billy Eckstine and Teddi King at Washington, D.C.'s Union Station, on the RCA Victor Starliner train. Eckstine and King were performing to benefit the March of Dimes; the interviews were apparently used in Music USA programs #420-B (Eckstine) and #421-B (King).

Willis Conover interviews June Christy, Nat "King" Cole, Ted Heath, and Bob Flanigan backstage at a performance at the National Guard Armory in Washington, D.C. The interview with Nat "King" Cole was likely used in Music USA program #520-B.

Recording of Otto Luening's Invention in 12 Notes.

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.

The fifth of five hours of Louis Armstrong talking at length about his life and career, with musical selections interspersed.

The first of five hours of Louis Armstrong talking at length about his life and career. In this hour, Armstrong discusses his early life and career, interspersed with musical selections.

The fourth of five hours of Louis Armstrong talking at length about his life and career. In this hour, Armstrong discusses playing the trumpet, his health, and race relations, with musical selections interspersed.

The second of five hours of Louis Armstrong talking at length about his life and career. In this hour, Armstrong discusses the Hot Five and scat singing, interspersed with musical selections.

The third of five hours of Louis Armstrong talking at length about his life and career. In this hour, Armstrong discusses his favorite musicians, with musical selections interspersed.

A tape from Louis Armstrong, with the container addressed to his manager, Joe Glaser. The contents of the tape include recorded music and a spoken message from Armstrong.

The work is made around tape recordings of Luening's improvisations on the flute. The flute recordings were transposed through change of tape playback speed and transformed through "tape recorder feedback".