Recording of Denis Lorrain's L'Angélus. This piece is of a fairly free design and naturally exploits passages of contrast or homogeneity between the tape and clarinet. The tape is composed of electronic and concrete sounds, including sounds from the clarinet itself. The development on two channels of the tape is opposed to the fixity of the interpreter situated between the two speakers. In a live presentation, this piece tries to avoid clearly marking its chronological limits: the beginning is designed to merge with the applause following a previously performed piece, and one avoids a precise ending by making one final clarinet sound on the speakers after the exit of the clarinetist.
Recording of Denis Lorrain's L'Angélus for clarinet and magnetic tape performed by Bernard Paluck, clarinet. This piece is of a fairly loose design, and uses natural passages of contrast or homogeneity between the magnetic tape and clarinet. Magnetic tape is made up of sounds electronic and concrete, including sounds coming from the clarinet itself. Development on two magnetic tape channels is opposed to the fixity of the interpreter situated between the two speakers. This recording was produced December 1971, at the Electronic Music Studio, McGill University in Montreal.
Recording of Sten Hanson's Dance figure. This work is for voice and electronics. The voice is put they a delay processor to continuously loop the phrase, accompanied by the electronics which allow for the repetition to evolve.
Recording of Eugeniusz Rudnik's Divertimento. The composer's intention is that this composition should produce an effect in the sphere of musical expression, as well as - or perhaps above all - in the poetic sphere. The creative assumption is to hide from the listener the whole " technology " of music for magnetic tape, which, should be the means, not the aim. Another, perhaps the most important assumption is the simple but clearly outlined architectonics of the composition. From time to time the composer used advanced transformation of the sound material, but preserved respect for the extremely precious substance, the human voice. The material came from various, often incidental sources within their reach. This method of selection was not forced ; it was neither compromise nor resignation. The whole assemblage consists of particular " bits and pieces " which, in their primary, chaotic being, fascinated me by their specific, unique expression or beauty. The composer made an attempt to set in artistic order a fragment of the world of sounds in because of their profession. The composer built arranged structures, often breaking chosen elements in order to present their often unperceived values. As regards the material based on speech elements, the composer was most particular about the musical value of a word and its emotive atmosphere, and not so much in the notional contents. The composer wanted the elements of " musical fun " to speak - hence the title. Dedicated to Guillaume Apollinaire.
Recording of Eugeniusz Rudnik's Divertimento. "My intention is that this composition should produce an effect in the sphere of musical expression, as well as - or perhaps above all - in the poetic sphere. My creative assumption is to hide from the listener the whole "technology" of music for magnetic tape, which, I presume, should be the means, not the aim. Another, perhaps the most important assumption, is the simple but clearly outlined architectonics of the composition. From time to time, I have used advanced transformation of the sound material, but I have done my best to preserve my respect for the extremely precious substance, the human voice. The material came from various, often incidental, sources within my reach. This method of selection was not forced; it was neither compromise nor resignation. The whole assemblage consists of particular "bits and pieces" which, in their primary chaotic being, fascinated me by their specific unique expression or beauty. So I made an attempt to set in artistic order a fragment of the world of sounds in which I remain because of my profession. I tried to build arranged structures, often breaking chosen elements in order to present their often-unperceived values. As regards the material based on speech elements, I am most particular about the musical value of a word and its emotive atmosphere, and not so much in the notional contents. I want the elements of "musical fun" to speak - hence the title. With this composition, I pay tribute to Guillaume Apollinaire." - Eugeniusz Rudnik, composer
A partial set of playlists for individual Music USA programs 6150 through 6209, broadcast in November and December of 1971. There are 25 pages in this document.
Recording of John Gilliland interviewing Patty Andrews of the Andrews Sisters for the Pop Chronicles radio program series. The interview occurred either March 13 or September 13, 1971. A rehearsal is audible in the background. This segment is part 1 of 2.
Recording of John Gilliland interviewing Patty Andrews of the Andrews Sisters for the Pop Chronicles radio program series. The interview occurred either March 13 or September 13, 1971. A rehearsal is audible in the background. This segment is part 2 of 2.
Recording of John Gilliland interviewing Perry Como for the Pop Chronicles radio program series. This recording includes discussion of sexual harassment.
Recording of John Gilliland interviewing composer Jimmy Van Heusen for the Pop Chronicles radio program series. This is the first of three segments. Van Heusen's wife is present for this recording, and speaks in track 5.
Recording of John Gilliland interviewing Harry Mills of the Mills Brothers for the Pop Chronicles radio program series. This recording includes unrelated audio from other broadcasts after the interview with Mills.
Recording of John Gilliland interviewing Edgar Bergen for the Pop Chronicles radio program series. The interview begins in track 3 following unrelated material, and continues through track 6, followed by an apparent live performance by the Mills Brothers. This recording contains slurs or stereotyping directed at race, socioeconomic background, sexual orientation, or religion.
A short promotional film, perhaps designed as a "day in the life" of Willis Conover. The film follows him from the Voice of America studios to a tour of the John F. Kennedy Center for the Performing Arts under construction, to the New York City club Jim and Andy's, at the piano with his wife at the time, Shirley Conover, and back to the studio.
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