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
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.
Sound recording of a panel discussion at the 7th Annual Oral History Colloquium held at the Thompson Conference Center Auditorium, University of Texas at Austin, Austin, Texas. The panel "Oral History Defined" is presented by Lyle Brown from the Dept. of Political Science, Baylor University, Eugenia Meyer, from the Instituto Nacional de Anthropologia e Historia, Mexico City. The panel “Oral History and Black Studies” is presented by Lawrence Goodwin from the Dept. of History, Duke University, Ann Allen Shockley from the Black Oral History Program, Fisk University.
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