{"id":7142,"date":"2021-01-27T11:07:03","date_gmt":"2021-01-27T16:07:03","guid":{"rendered":"https:\/\/esm4.esm.rochester.edu\/sibley\/?page_id=7142"},"modified":"2021-01-27T11:07:03","modified_gmt":"2021-01-27T16:07:03","slug":"sub2","status":"publish","type":"page","link":"https:\/\/esm4.esm.rochester.edu\/sibley\/specialcollections\/findingaids\/wbarlow\/sub2\/","title":{"rendered":"WAYNE BARLOW COLLECTION"},"content":{"rendered":"

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SUB-GROUP II:\u00a0 SOUND RECORDINGS<\/h3>\n

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NOTE TO THE RESEARCHER:<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The convention within the finding aid has been to present (1) on the first line of each entry, a transcription of whatever caption appears on the side<\/span> of a tape\u2019s container (which is most often a short-form description), i.e. that description that is eye-legible when reading the contents on a shelf; and then, (2) on each entry\u2019s second and subsequent lines, the descriptive information that appears on the container\u2019s main label area<\/span> (which is usually more complete). Finally, any technical data such as may appear on the container (or on the reel itself) are presented on the last line, italicized. <\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Entries and descriptive notes left by Dr. Barlow have been transcribed as they appear, including any abbreviations and other short-form renderings.\u00a0 <\/em><\/p>\n

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<\/a>Series 1: 5\u201d reels<\/h3>\n

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<\/a>Sub-series A: \u00a0Original works by Wayne Barlow <\/span><\/em><\/strong><\/p>\n

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<\/a>Sub-sub-series i: Single works <\/span><\/strong><\/em><\/p>\n

[\/vc_column_text][vc_custom_heading text=”Box 14″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1611763598743{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
item 1<\/strong><\/td>\nDuo for Harp and Tape
\nWayne Barlow: Duo for Harp and Tape. Robert Barlow, harp
\n7 \u00bd\u201d; 4-track mono<\/em><\/td>\n<\/tr>\n
item 2<\/strong><\/td>\nDynamisms for 2 pianos
\n7 \u00bd\u201d<\/em><\/td>\n<\/tr>\n
item 3<\/strong><\/td>\n[Hymn voluntaries]\u00a0 Barlow: 4 organ pieces
\nBarlow: Hymn Voluntaries.
\n1) Christ Lay in Death\u2019s Strong Bands.
\n2) O little Flock, Fear Not the Foe.
\n3) Dear Christians, One and All Rejoice
\n4) Come Holy Ghost, Creator Blest.
\n7 \u00bd\u201d \u00bc tr. Stereo<\/em><\/td>\n<\/tr>\n
item 4<\/strong><\/td>\n[Hymn voluntaries]\u00a0 3 organ pieces.
\nBarlow: 3 organ pieces
\n1) Christ lag\u2026
\n2) O little flock\u2026.
\n3) Dear Christians, one and all rejoice.
\n\u00bc tr. Stereo. 7 \u00bd\u201d<\/em><\/td>\n<\/tr>\n
item 5<\/strong><\/td>\nMoonflight
\n[no other information]<\/em><\/td>\n<\/tr>\n
item 6<\/strong><\/td>\nNight Song
\n7 \u00bd\u201d 4-track mono<\/em><\/td>\n<\/tr>\n
item 7<\/strong><\/td>\nBarlow: Night Song
\n8 min.
\n7 \u00bd\u201d 4-track mono<\/em><\/td>\n<\/tr>\n
item 8<\/strong><\/td>\nNightsounds\/Music
\nBirdsong [3 other tracks previously indicated but crossed out]<\/em><\/td>\n<\/tr>\n
item 9<\/strong><\/td>\nRota
\nRota for Chamber Orch. by Wayne Barlow. 5:07.
\n7 \u00bd\u201d mono<\/em><\/td>\n<\/tr>\n
item 10<\/strong><\/td>\nSinfonia da Camera- Janiec BMC- 1982
\nSinfonia da Camera. Janiec BMC [i.e., Brevard Music Center]. 8\/12\/82
\n3 \u00be speed<\/em><\/td>\n<\/tr>\n
item 11<\/strong><\/td>\nSinfonietta\/Rondo-Ov.\/Mass in G\/Lyrical Piece.
\n1) Sinfonietta-2nd<\/sup> move.\u00a0 4:45
\n2) Rondo Overture\u00a0 4:00
\n3) Cantio pro Elevatione (strings) from Mass in G.\u00a0 2:30
\n4) Lyrical Piece for Clarinet & Strings\u00a0 4:00
\n7 \u00bd\u201d ips<\/em><\/td>\n<\/tr>\n
item 12<\/strong><\/td>\nSoundscapes for Orchestra and Tape
\nSoundscapes: Mists. Clouds. Constellations. Sunbursts.
\n3-3\/4 i.p.s.; 4-track mono<\/em><\/td>\n<\/tr>\n
item 13<\/strong><\/td>\nStudy in Electronic Sound
\nBarlow: Study in Electronic Sound.
\n2-track 7 \u00bd\u201d stereo.<\/em><\/td>\n<\/tr>\n
item 14<\/strong><\/td>\nStudy in Electronic Sound
\nBarlow: Study (climax rev.)
\n7 \u00bd\u201d [ <\/em>\u201cEnv. Foll\u201d written on side and on reel]<\/em><\/td>\n<\/tr>\n
item 15<\/strong><\/td>\nStudy in Electronic Sound
\nBarlow: Study in Electronic Sound.
\n7 \u00bd\u201d ips; \u00bc tr. stereo<\/em><\/td>\n<\/tr>\n
item 16<\/strong><\/td>\nTrio for Oboe Viola, Piano- 1964
\nWayne Barlow, Trio for Oboe, Viola, Piano.
\nRobert Sprenkle, oboe; Francis Tursi, viola; Armand Basile, piano.
\nRecorded by Whitford L. Hall, Minister of Music, First Congregational Church, Washington, D.C., May 17, 1964.
\n7 \u00bd ips.; full track<\/em><\/td>\n<\/tr>\n
item 17<\/strong><\/td>\nVistas
\n[label indicates <\/em>\u201ccut at 8\u2019 50\u201d; track listing on reverse crossed out]<\/em><\/td>\n<\/tr>\n
item 18<\/strong><\/td>\nVocalise and Canon for Tuba and Piano
\nWayne Barlow: Vocalise and Canon for Tuba and Piano. Duration 6:04
\nCherry Beauregard, tuba; Dorothy Payne, piano.
\n7 \u00bd i.p.s.; half-track stereo<\/em><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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item 1<\/strong><\/td>\nWaves
\n[no other information]<\/em><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text]<\/p>\n

<\/a>Sub-sub-series ii: Compilations<\/span><\/strong><\/em><\/p>\n

[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\n\n
item 2<\/strong><\/td>\n[side caption lacking; three selections indicated on label]
\n<\/em>I. Night Song
\nII. Rota.
\nIII. The Winter\u2019s Passed, for Oboe and Strings.
\n\u00bc track mono 3-3\/4 i.p.s. Single Channel. Can be played on 2 or 4 track players.<\/em><\/td>\n<\/tr>\n
item 3<\/strong><\/td>\nSinfonia da Camera \/ Intrada, Fugue, Postlude-etc.
\nExcerpts (beginnings of each movement):\u00a0 Sinfonia Da Camera \/ Intrada, Fugue, and Postlude for orchestral brasses.
\n7 \u00bd i.p.s.; 4-track stereo<\/em><\/td>\n<\/tr>\n
item 4<\/strong><\/td>\nWe All Believe\/ Mass in G\/ Wait for the Promise
\n1) We All Believe in One True God. Chorus, brass quartet and organ.
\n2) Mass in G: Sanctus, Cantio pro Elevatione, Agnus Dei. Chorus, strings, and organ.
\n3) Wait for the Promise of the Father: I Keep the Lord (vi), All Flesh is Like Grass (X). Chorus, instruments, and organ.
\nHalf-track mono. 3-3\/4 ips. One channel only. Can be played on 2 or 4-track machines.<\/em><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text]<\/p>\n

<\/a>Sub-series B: \u00a0Other composers\u2019 content <\/span><\/strong><\/em><\/p>\n

[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
item 5<\/strong><\/td>\nBells of Xmas 1981 (Karl Haas)
\n[no other information]
\n<\/em>3 \u00be\u201d \u00bd track mono 2 side<\/em><\/td>\n<\/tr>\n
item 6<\/strong><\/td>\nClark: Star Bursts
\n[no other information]<\/em><\/td>\n<\/tr>\n
item 7<\/strong><\/td>\nCowell: Ongaku (1957)
\nWhitney-Louisville
\n7 \u00bd\u201d ips<\/em><\/td>\n<\/tr>\n
item 8<\/strong><\/td>\nDavis BSN
\n[track listings of three works by Ross Lee Finney originally appearing on reel container; however, that information crossed out on the spine, suggesting that the tape may have been recorded over]<\/em><\/td>\n<\/tr>\n
item 9<\/strong><\/td>\nWords of St. Peter \/ Electronic Tape. Richard Felciano.
\nPerformance tape for piece for tape and organ.
\n7 \u00bd\u201d ips; full track mono<\/em><\/td>\n<\/tr>\n
item 10<\/strong><\/td>\nComing of Age. Fine \/ Etler \/ Benson \/ Hodkinson. 6.5-80
\nComing of Age.
\n3 \u00be\u201d \u00bd tr mono<\/em><\/td>\n<\/tr>\n
item 11<\/strong><\/td>\nLewkovitch: Mass
\n6\/26\/55 Danish Festival<\/td>\n<\/tr>\n
item 12<\/strong><\/td>\nRiegger: Var[iations] For Piano & Orch. (1954)
\n7 \u00bd\u201d<\/em><\/td>\n<\/tr>\n
item 13<\/strong><\/td>\nAftertones of Infinity
\nJoseph Schwantner [track listing written out but crossed out]
\n<\/em>\u00bd-track stereo 7 \u00bd\u201d<\/em><\/td>\n<\/tr>\n
item 14<\/strong><\/td>\nHarry Somers (Canadian): Suite for Harp and Chamber Orch.
\n[no further information]<\/em><\/td>\n<\/tr>\n
item 15<\/strong><\/td>\nVarese: Ionization
\n[no other information]<\/em><\/td>\n<\/tr>\n
item 16<\/strong><\/td>\nLeroy Williams
\nThe Rainbow Ends: for Wind Ensemble
\n7 \u00bd ips \u00bc track stereo<\/em><\/td>\n<\/tr>\n
item 17<\/strong><\/td>\nLeroy Williams: Mus. Concrete Etc.
\n[no other information]<\/em><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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<\/a>Series 2: 7\u201d reels<\/h3>\n

[\/vc_column_text][vc_column_text]<\/p>\n

<\/a>Sub-series A: Original works by Wayne Barlow<\/strong> \u00a0<\/span><\/em><\/p>\n

[\/vc_column_text][vc_column_text]<\/p>\n

<\/a>Sub-sub-series i: Single works <\/span><\/strong><\/em><\/p>\n

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item 1<\/strong><\/td>\nBARLOW: DUO for Hp. and Tp. TAPE PART
\nWayne Barlow: Duo for Harp and Tape. Tape part
\n\u00bd track stereo. 7 \u00bd\u201d head out<\/em><\/td>\n<\/tr>\n
item 2<\/strong><\/td>\n[side caption lacking]
\n<\/em>Barlow: Duo for Harp & Tape. Tape part.
\n2 tr stereo 7 \u00bd\u201d<\/em><\/td>\n<\/tr>\n
item 3<\/strong><\/td>\nDuo for Harp and Tape-D. Fleisher, harp
\nWayne Barlow: Duo for Harp and Tape. Deborah Fleisher, Harpist.
\n7 \u00bd ips. \u00bd track stereo<\/em><\/td>\n<\/tr>\n
item 4<\/strong><\/td>\nBARLOW: DUO (Tape pt.)
\nBarlow: Duo for Harp & Tape. Tape Part.
\n2 tr stereo. 7 \u00bd\u201d Tail out<\/em><\/td>\n<\/tr>\n
item 5<\/strong><\/td>\nBARLOW: DUO Hp. & Tape. Tape pt.
\nWayne Barlow: Duo for Harp and Tape. Tape part.
\n7 \u00bd\u201d- \u00bd track stereo. Head out<\/em><\/td>\n<\/tr>\n
item 6<\/strong><\/td>\nBARLOW. DUO harp & tape.. Tape part.
\nWayne Barlow: Duo for Harp and Tape
\n\u00bc track stereo; 4-track; tail out<\/em><\/td>\n<\/tr>\n
item 7<\/strong><\/td>\nHarp Duo-Masters
\nWayne Barlow. Duo for harp & tape. Tape
\n[information transcribed from old container to new]<\/em><\/td>\n<\/tr>\n
item 8<\/strong><\/td>\nHarp Duo tape part
\nHarp Duo tape part.
\n[information transcribed from old container to new]<\/em><\/td>\n<\/tr>\n
item 9<\/strong><\/td>\nBarlow: Dynamisms
\nWayne Barlow: Dynamisms for Two Pianos. (1967)
\nI: Densities\u2014II: Timbres\u2014III. Projections.\u00a0\u00a0 [no further information]
\n<\/em>\u00bc track stereo 7 \u00bd ips<\/em><\/td>\n<\/tr>\n
item 10<\/strong><\/td>\nBARLOW: ORGAN
\nBarlow: Hymn Voluntaries For Organ:
\nChrist Lay in Death\u2019s Strong Bonds\u2014O Little Flock, Fear not The Foe\u2014Dear Christians, One and All Rejoice\u2014Come Holy Ghost, Creator Blest.<\/td>\n<\/tr>\n
item 11<\/strong><\/td>\nBarlow: Images
\nWayne Barlow: Images, for Harp & Orchestra. Robert Barlow, Harp.
\nDuration 16:42
\nFull track mono. 7 \u00bd ips.<\/em><\/td>\n<\/tr>\n
item 12<\/strong><\/td>\nBARLOW: IMAGES. NGA [i.e., National Gallery of Art]
\n<\/em>Barlow: Images. R. Barlow, Harp. R. Bales & Nat. Gallery of Art Orch.
\nCopied from NPR cassette of performance. April 1982. Time: 19:30<\/td>\n<\/tr>\n
item 13<\/strong><\/td>\n\u00a0Barlow: Intermezzo Va. & Hp.
\nWayne Barlow-Intermezzo for Viola & Harp. 10 \u00bd\u2019\u00a0[i.e., in duration]
\n<\/em>2 tr stereo- 7 \u00bd ips; head out<\/em><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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item 1<\/strong><\/td>\nBARLOW: INTERMEZZO
\nIntermezzo for Viola and Harp
\n2 tr stereo. 7 \u00bd\u201d ips-head out ready to play<\/em><\/td>\n<\/tr>\n
item 2<\/strong><\/td>\nBARLOW: Intermezzo for Harp & Viola
\nBarlow: Intermezzo for Harp & Viola.
\nPitch corrected. \u00bc tr stereo 7 \u00bd\u201d<\/em><\/td>\n<\/tr>\n
item 3<\/strong><\/td>\nBARLOW: INTRADA . . .
\nBarlow. Intrada; Fugue; Postlude
\n7 \u00bd ips \u00bd track mono<\/em><\/td>\n<\/tr>\n
item 4<\/strong><\/td>\nBarlow: Intrada . . .
\nIntrada, Fugue, and Postlude (Duplicate)
\nBarlow: Intrada, Fugue & Postlude for Brass. ESM Brass Ensemble.
\n7 \u00bd ips. Mono<\/em><\/td>\n<\/tr>\n
item 5<\/strong><\/td>\nWB: Lento & Allegro
\nLento and Allegro- W. Barlow.
\n\u00bc-tr mono. 7 \u00bd ips head out.<\/em><\/td>\n<\/tr>\n
item 6<\/strong><\/td>\nWB MASS IN G 5-10-51 WB cond. Premiere w\/ orch
\nWayne Barlow. Mass in G 5\/10\/51.
\n\u00bc\u201d stereo. 7 \u00bd ips tail out<\/em><\/td>\n<\/tr>\n
item 7<\/strong><\/td>\nMass in G strgs * brass
\nBarlow: Mass in G (1951) for chorus, strings and brass.
\nKyrie\u2014Gloria\u2014Credo\u2014Sanctus & Benedictus\u2014Cantio pro Elevatione\u2014Agnus Dei.
\n7 \u00bd\u201d ips mono single-track<\/em><\/td>\n<\/tr>\n
item 8<\/strong><\/td>\nBarlow: Mass in G
\nMass in G- strings and brasses- [April 30] 1957.
\nKyrie eleison\u2014Gloria in excelsis\u2014Credo\u2014Sanctus\u2014Cantio pro Elevatione\u2014Agnus Dei.
\n[excerpt from printed program affixed to container: performers cited were The Eastman Singers; Dr. David Fetler, conducting]
\n<\/em>Single track. 7 \u00bd ips. Program information taped on back.<\/em><\/td>\n<\/tr>\n
item 9<\/strong><\/td>\nMicrotonal
\nMicrotonal. BASF tape<\/td>\n<\/tr>\n
item 10<\/strong><\/td>\nMoonflight\u00a0 [title added later by JBD]<\/em><\/td>\n<\/tr>\n
item 11<\/strong><\/td>\nOut of the Cradle:\u00a0 excerpts
\nOut of the cradle. 3 excerpts.
\n7 \u00bd\u201d \u00bc tr<\/em><\/td>\n<\/tr>\n
item 12<\/strong><\/td>\nOut of the Cradle
\nConcert of Electronic & Live Music \/ Wayne Barlow, Director. Kilbourn Hall, 4\/4\/78.
\nOut of the Cradle Endless Rocking \/ Barlow.
\n1\/2-track stereo; 1 mil poly; 7 1\/2 ips<\/em><\/td>\n<\/tr>\n
item 13<\/strong><\/td>\nBARLOW: OUT OF THE CRADLE . . .
\nBarlow: Out of the Cradle Endlessly Rocking. Tape Part
\n7 \u00bd\u201d \u00bd tr stereo. 2-track<\/em><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 18″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1611769618384{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
item 1<\/strong><\/td>\nPoems for Music
\nPoems for Music. (Serenade omitted)<\/p>\n
    \n
  1. Antoine [i.e. Joseph Antoine, soprano]<\/em><\/li>\n<\/ol>\n

    7 \u00bd ips. mono.; single-track<\/em><\/p>\n<\/td>\n<\/tr>\n

item 2<\/strong><\/td>\nBarlow. Sax[ophone] Concerto
\nNo other information on container or reel.<\/em><\/td>\n<\/tr>\n
item 3<\/strong><\/td>\nBARLOW: SINFONIA
\nSINFONIA.\u00a0 [previous content citation crossed out]<\/em><\/td>\n<\/tr>\n
item 4<\/strong><\/td>\nBARLOW: SINFONIA. MSTR
\nDr. Wayne Barlow. Sinfonia da Camera.
\nMono. 7 \u00bd ips. Head out<\/em><\/td>\n<\/tr>\n
item 5<\/strong><\/td>\nBARLOW: Sinfonia da Camera
\nBarlow: Sinfonia da Camera (1962):
\nOverture\u2014Canon\u2014Scherzo and Musette\u2014Aria\u2014Finale.
\n7 \u00bd\u201d mono; pitch sharp 1\/2 step<\/em><\/td>\n<\/tr>\n
item 6<\/strong><\/td>\nBARLOW: SONATA [for piano]
\nSonata \/ Barlow<\/td>\n<\/tr>\n
item 7<\/strong><\/td>\nBARLOW: PA. SONATA
\nBarlow: Piano Sontata
\n7 \u00bd\u201d Full track<\/em><\/td>\n<\/tr>\n
item 8<\/strong><\/td>\nBarlow: Soundprints
\nBarlow: Soundprints In Concrete.
\nWooden Nickels\u2014Messenger of Bronze\u2014The Tyranny of Time.
\n\u00bd tr stereo. 7 \u00bd\u201d head out<\/em><\/td>\n<\/tr>\n
item 9<\/strong><\/td>\nBarlow: Soundprints
\nSoundprints.\u00a0 [no further information]
\n<\/em>7 \u00bd\u201d \u00bd tr st.<\/em><\/td>\n<\/tr>\n
item 10<\/strong><\/td>\nBarlow: Soundprints
\nBarlow=Soundprints. \u00a0[no further information]
\n<\/em>7 \u00bd\u201d \u00bc tr stereo<\/em><\/td>\n<\/tr>\n
item 11<\/strong><\/td>\nSoundprints
\n[no further information]<\/em><\/td>\n<\/tr>\n
item 12<\/strong><\/td>\nBarlow: Soundscapes (perf.)
\nBarlow. Soundscapes [based on side caption; presumably the premiere performance at the Eastman School of Music, March 10, 1972]
\n<\/em>7 \u00bd ips 2 track stereo<\/em><\/td>\n<\/tr>\n
item 13<\/strong><\/td>\nBARLOW: Soundscapes. New mixdown
\nBarlow: Soundscapes for Tape & Orchestra. New mixdown
\n7 \u00bd ips (19 cms) \u00bc track stereo<\/em><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 19″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1611769564423{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
item 1<\/strong><\/td>\nBARLOW: SOUNDSCAPES
\nBarlow: Soundscapes
\n\u00bd tr 7 \u00bd\u201d<\/em><\/td>\n<\/tr>\n
item 2<\/strong><\/td>\nBARLOW: SOUNDSCAPES (complete)
\nBarlow: Soundscapes
\n7 \u00bd 2-track stereo<\/em><\/td>\n<\/tr>\n
item 3<\/strong><\/td>\nSoundscapes–master
\nSoundscapes. Master
\n[information transcribed from old container to new]<\/em><\/td>\n<\/tr>\n
item 4<\/strong><\/td>\nSoundscapes–sub-master
\nSoundscapes. Sub-master
\n[information transcribed from old container to new]<\/em><\/td>\n<\/tr>\n
item 5<\/strong><\/td>\nBarlow: Soundscapes. New mix
\nBarlow: Soundscapes for Orchestra & Tape (New mixdown)
\n\u00bd-track stereo. 7 \u00bd ips. Tail out. 19 cms 2-track stereo<\/em><\/td>\n<\/tr>\n
item 6<\/strong><\/td>\nSoundscapes \/ Tape part
\nSoundscapes. Tape part<\/td>\n<\/tr>\n
item 7<\/strong><\/td>\nSoundscapes: tape part
\nTape Part\u00a0[label affixed to reel].<\/em>\u00a015\u201d<\/td>\n<\/tr>\n
item 8<\/strong><\/td>\nBarlow: Study . . .
\nBarlow: \u201cStudy in Electronic Sound.\u201d Realized at the Electronic Music Studio of University of Utrecht, Holland. 1965.
\n2-track stereo 15 ips<\/em><\/td>\n<\/tr>\n
item 9<\/strong><\/td>\nBARLOW: STUDY [in electronic sound]
\nBarlow. Study . . .\u00a0\u00a0[title on label affixed to reel]
\n<\/em>15 ips, stereo<\/em><\/td>\n<\/tr>\n
item 10<\/strong><\/td>\nBarlow: Trio [for oboe, viola and piano]
\nTrio.\u00a0[detailed info of reel\u2019s previous content crossed out]<\/em><\/td>\n<\/tr>\n
item 11<\/strong><\/td>\nBarlow: Trio
\nWayne Barlow: Trio for Oboe, Viola, and Piano. (1964)
\n\u00bc stereo. 7 \u00bd ips<\/em><\/td>\n<\/tr>\n
item 12<\/strong><\/td>\nBARLOW: TRIPTYCH III Brevard Strg. Selection \u2014 Janiec
\nBarlow: Lento espressivo for strings: Triptych III from the String Quartet.<\/td>\n<\/tr>\n
item 13<\/strong><\/td>\nBARLOW: TRIPTYCH
\nBarlow: Triptych (dub). Erling Bloch Quartet, Copenhagen 1956
\n7 \u00bd\u201d \u00bc tr mono<\/em><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 20″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1611769515859{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
item 1<\/strong><\/td>\nBARLOW: TRIPTYCH
\nWayne Barlow: Triptych for String Quartette (1953)
\nQuarter-track stereo 7 \u00bd\u201d ips mono<\/em><\/td>\n<\/tr>\n
item 2<\/strong><\/td>\nVistas
\nBarlow. Vistas
\n7 \u00bd ips. Stereo<\/em><\/td>\n<\/tr>\n
item 3<\/strong><\/td>\nBarlow: Voices of Darkness
\nMusica Nova. Kilbourn Hall 1\/17\/75.
\nVoices of Darkness \/ Barlow.
\n|\u00bd tr stereo- 1 mic poly. 7 \u00bd ips<\/em><\/td>\n<\/tr>\n
item 4<\/strong><\/td>\nBarlow: Voices of Darkness\u2014perf.
\nVoices of Darkness. Barlow. Kilbourn Hall. 1\/17\/75
\n1\/2-track stereo; 1 mil poly; 7 1\/2 ips<\/em><\/td>\n<\/tr>\n
item 5<\/strong><\/td>\nBarlow: Voices of Darkness performance
\nBarlow: Voices of Darkness. Piano, percussion and tape.
\nJean Sloop, narrator.
\n7 \u00bd ips \u00bc tr stereo. From 1\/2-track master.<\/em><\/td>\n<\/tr>\n
item 6<\/strong><\/td>\nVoices of Darkness– tape part
\nVoices of Darkness by Wayne Barlow. Tape part
\n7 \u00bd\u201d half-track stereo. Tail out.
\n<\/em>[information transcribed to new reel container during processing]<\/em><\/td>\n<\/tr>\n
item 7<\/strong><\/td>\nVoices of Darkness–tape part
\nBarlow: Voices of Darkness-tape part.
\n\u00bc track stereo 7 \u00bd ips Head out.<\/em><\/td>\n<\/tr>\n
item 8<\/strong><\/td>\nBarlow: Voices of Darkness
\nBarlow: Voices of Darkness
\n7 \u00bd\u201d \u00bd tr stereo<\/em><\/td>\n<\/tr>\n
item 9<\/strong><\/td>\nBARLOW: VOICES OF FAITH
\nVoices of Faith — Barlow 2\/28\/76
\nThe Augusta Symphony Orchestra.
\nRecorded by: Sports Film Service, Sound Recording Division, 1110 Terrace Circle Drive, North Augusta, S.C. 29841.
\n\u00bc tr stereo 7 \u00bd ips.<\/em><\/td>\n<\/tr>\n
item 10<\/strong><\/td>\nBarlow: Wait for the Promise
\nBarlow- \u201cWait for the Promise of the Father\u201d
\n7 \u00bd ips. 2 track stereo.<\/em><\/td>\n<\/tr>\n
item 11<\/strong><\/td>\nWAIT FOR . . . VII. X
\nWait For VII, X\u00a0
\n<\/em>\u00bc tr 7 \u00bd\u201d<\/em><\/td>\n<\/tr>\n
item 12<\/strong><\/td>\nBARLOW: WE ALL BELIEVE . . .
\nBarlow: We All Believe In One True God: for chorus, brass, and organ.
\n7 \u00bd\u201d, \u00bd tr. Stereo<\/em><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 21″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1611764822972{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n

<\/a>Sub-sub-series ii: Compilations <\/span><\/strong><\/em><\/p>\n

[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
item 1<\/strong><\/td>\nBARLOW: Constellations\u201d; Intermezzo
\n1) \u201cConstellations\u201d from Soundscapes for orchestra and tape 1972
\n2) Intermezzo for viola and harp 1980
\nQuarter-track stereo. 7 \u00bd ips.\u00a0 Leader separates selections<\/em><\/td>\n<\/tr>\n
item 2<\/strong><\/td>\nBARLOW: DYNAMISMS; INTERMEZZO
\nBarlow.<\/p>\n
    \n
  1. Dynamisms<\/li>\n
  2. Intermezzo [title labels affixed to disc]<\/em><\/li>\n<\/ol>\n<\/td>\n<\/tr>\n
item 3<\/strong><\/td>\nMoers; Barlow
\nRobert Moers: Musica da Camera (1965).
\nBarlow: Dynamisms (1967)\u00a0\u00a0\u00a0[no further information]
\n<\/em>Stereo 7\u00bd\u201d<\/em><\/td>\n<\/tr>\n
item 4<\/strong><\/td>\nBarlow. Dynamisms; Elegy
\nBarlow. 1. Dynamisms.<\/p>\n
    \n
  1. Elegy. [no further information]<\/em><\/li>\n<\/ol>\n

    \u00bc tr stereo. 7\u00bd\u201d<\/em><\/p>\n<\/td>\n<\/tr>\n

item 5<\/strong><\/td>\nBarlow. Images, Rota
\n1) Barlow: Images (1961) Harp & Orch. 4\/24\/61*
\n2) Rota for Chamber Orch (1959)
\n*w\/ cuts to confirm to revision
\n7 \u00bd ips<\/em><\/td>\n<\/tr>\n
item 6<\/strong><\/td>\nBARLOW: IMAGES; SINFONIA. NGA\u00a0\u00a0[i.e., National Gallery of Art]
\n<\/em>Barlow. I) Images for Harp & Chamber Orch.
\nII) Sinfonia Da Camera.
\nFootage: I-60-140; II 445-580. 5 minutes each.<\/td>\n<\/tr>\n
item 7<\/strong><\/td>\nBARLOW: Intrada, Sonata, Poems for Music MSTR
\n1) Intrada, Fugue & Postlude for Brass Ensemble (1959)
\n2) Sonata for Piano (1947) (Ech\u00e1niz)
\n3) Poems for Music (1958) (Antoine).
\n4) By Wayne Barlow
\n7 \u00bd ips mono single-track. Adjust pitch half-step down<\/em><\/td>\n<\/tr>\n
item 8<\/strong><\/td>\nBarlow: Moon Flight, Study . . .
\nBarlow: Moon flight; Study in Electronic Sound
\n7 \u00bd\u201d stereo<\/em><\/td>\n<\/tr>\n
item 9<\/strong><\/td>\n[lacks caption label]
\n<\/em>BARLOW: 1. Night Song; 2. Vistas
\n[source of information is label affixed to reel]<\/em><\/td>\n<\/tr>\n
item 10<\/strong><\/td>\nOUT OF THE CRADLE; DUO HARP & TAPE
\nConcert of Electronic & Live Music \/ Wayne Barlow, Director. Kilbourn Hall, 4\/4\/78.
\nOut of the Cradle Endlessly Rocking \/ Barlow.
\nDuo for Harp & Tape \/ Barlow.
\n\u00bd track stereo- 1 mil poly. 7 \u00bd ips<\/em><\/td>\n<\/tr>\n
item 11<\/strong><\/td>\nBARLOW: CRADLE; HARP DUO; VOCALISE & CANON
\nSide one: Out of the Cradle.
\nSide two: Duo for Harp & Tape-Mono.
\nVocalise & Canon.
\n\u00bc track. 7 \u00bd\u201d<\/em><\/td>\n<\/tr>\n
item 12<\/strong><\/td>\nBarlow: 1) Prelude, Air & Variation. Bsn & Pa Quintet; 2) Lyrical Piece. Clar. & Stgs.
\nSide 1: Prelude Air and Variations; Lyrical Piece for Clarinet and\u00a0 Strings.
\n\u00bc track mono. 7 \u00bd ips head out. Non-Dolby.<\/em><\/td>\n<\/tr>\n
item 13<\/strong><\/td>\nBarlow: Trio. Dynamisms
\n1)Trio for oboe, viola and piano (1964)
\n2) Dynamisms for two pianos (1967)
\n7 \u00bd\u201d 4-track stereo head out<\/em><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text]<\/p>\n

<\/a>Sub-series B: \u00a0Other composers\u2019 content <\/span><\/strong><\/em><\/p>\n

[\/vc_column_text][vc_custom_heading text=”Box 22″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1611764943314{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
item 1<\/strong><\/td>\nAcoustics
\nSlaymaker. Fixed formant vs fixed wave shape.
\n7 \u00bd mono.<\/em><\/td>\n<\/tr>\n
item 2<\/strong><\/td>\nArel: E.M. #1
\nBulent Arel: Stereo Electronic Music No. 1 (1960)<\/td>\n<\/tr>\n
item 3<\/strong><\/td>\nArel: Music for a Sacred Svc.
\nArel: Music for a Sacred Service.
\n7 \u00bd 2 track stereo<\/em><\/td>\n<\/tr>\n
item 4<\/strong><\/td>\nArgento\/Bartok
\n-Carnegie Hall 3\/29\/79
\nArgento: In Praise of Music Zinman
\nBartok: Miraculous Maudarin<\/td>\n<\/tr>\n
item 5<\/strong><\/td>\nBabbitt: Philomel
\nBabbitt: Philomel\u00a0 [\u201cEXXON\u201d handwritten and crossed out]
\n<\/em>7 \u00bd\u201d \u00bd tr stereo<\/em><\/td>\n<\/tr>\n
item 6<\/strong><\/td>\n[lacks side caption]
\n<\/em>Grazyna Bacewicz: Music for Strings, Trumpets and Percussion (1958). PHILLIPS
\nJoep Straesser: 22 pages (1965). DONEMUS<\/td>\n<\/tr>\n
item 7<\/strong><\/td>\nTadeusz Baird: Erotica (1961). Philips PHS 900-141 <\/em>\u00a0Peter Schat: Entelechy I (1961). Donemus DAVS 6702
\n<\/em>Stereo 7 \u00bd\u201d<\/em><\/td>\n<\/tr>\n
item 8<\/strong><\/td>\n[lacks side caption]
\n<\/em>Francois Bayle: Vapeur (Electronic & live).
\nFrancais-Bernard Mache: Terre de Feu (electronic).
\nPhilippe Carson: Turmac (factory sounds) .
\nBAM: Musique Experimentale II.
\n2-track Mono 7 \u00bd\u201d<\/em><\/td>\n<\/tr>\n
item 9<\/strong><\/td>\nBelgian Electronic Music
\nLouis DeMeester: Incantations; Ring Variaties v. Klavier; Prologue.
\nEmmanuel Van Weerst: Hygiene.
\nDider Gazelle: Studie.
\nLucien Goethals: Cellotape.
\n7 \u00bd\u201d mono<\/em><\/td>\n<\/tr>\n
item 10<\/strong><\/td>\nBerio: Circles\u00a0 [side description identical to label description]
\n<\/em>No other information<\/em><\/td>\n<\/tr>\n
item 11<\/strong><\/td>\nBerio, etc.
\nSide 1 (David Burge, piano):
\nBerio: Sequenza IV (1966)
\nDallapiccola: Quaderno Musicale di Annalibera (1952)
\n[tape enters about one minute deep into composition because of technical problems]
\n<\/em>Hannay: Sonorities (1966)
\n[brief introduction by David Burge]<\/em>Side 2:
\nWuorinen: Second Trio (fl, vcl, pa)
\nJoan Templar Smith, flute; James Stroud, \u2018cello; David Burge, piano.
\n7 1\/2 i.p.s., half-track mono<\/em><\/td>\n<\/tr>\n
item 12<\/strong><\/td>\nBoretz
\nBenjamin Boretz. \u201cGroup Variations (for computer)\u201d
\n7 \u00bd \u00bd 2 stereo<\/em><\/td>\n<\/tr>\n
item 13<\/strong><\/td>\nBottje
\nRepresentative electronic works [by] Will Gay Bottje.
\n1) Study with Piano (from Three Etudes for Wind Quintet and Tape) 1963. 4:40. 2-channel realized Univ. of Utrecht, S. Ill, Univ. Quintet.
\nLeader.
\n2) Intuitive Impulse 1963 5:15. Univ. of Utrecht 2-channel.
\nLeader.
\n\u201cAll of the following realized in S. Ill. Univ. Studio.\u201d
\n3) Four Monochromes (from a set of six) 1965. 1. For the Birds (single) Lonesome Reflection\u00a0 (single) 3. Homage \u00e0 Debussy (single) 4. And the Pulse Quickens (2-chan)
\nLeader
\n4) Studies in Equal Temperament [sic] (from set of 10) 1966 1. Fantasia with 9 and 5 (single) Invention (31 tone) (single)\u00a0 3. Fantasia with 9 and 15\u00a0 (single) 4. 28 tone chorale (single) 5. Sonatina (19 tone) (single)
\nLeader.
\n5) 5 Black Jelly Beans-1966. (two-channel)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 23″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1611768885771{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
item 1<\/strong><\/td>\nBottje
\nWill Gay Bottje<\/p>\n
    \n
  1. Dance Images (Elec. Suite) 7 \u00bd ips-2 cha.
    \nA Touch of Latin\u2014Puppet Mockery\u2014Dragonflies\u2014Seven Come Eleven (7, 8, 9, 10, 11 equ. temperament successively).<\/li>\n<\/ol>\n
      \n
    1. In The Hours of Darkness (Elec. Suite). (Original 4 track-2 synchronized 2 tr. mach) this version 2 track. 1st movement also in a version for 2 flutes and tapes). Piece has been performed 3 times with improvised percussion; also without any instruments. Celestial Motions Creatures of the Night Voodoo.<\/li>\n<\/ol>\n<\/td>\n<\/tr>\n
item 2<\/strong><\/td>\nBottje
\nBottje. 1966-67 Electronic Suite \u201cIn The Hours of Darkness\u201d (original 4 channel).<\/p>\n
    \n
  1. Heavenly Bodies 5:05\u20142. Creatures of the Night 4:25\u20143. Voodoo 8:30. Mvts 2 and 3 also done with percussion. Made in S.Ill. University Studio.
    \nStereo 7 \u00bd ips<\/em>; chan A= tr. 1 and 2. B= tr 3 and 4.<\/em><\/li>\n<\/ol>\n<\/td>\n<\/tr>\n
item 3<\/strong><\/td>\nConc. Pieces. Bottje
\n[label with typescript details pasted over previously entered track listing]
\n<\/em>Will Gay Bottje. Tape (only) for the following works:
\n1) MODALITIES- Saxophone Quartet and Tape 1970 (2 channel, 7 \u00bd ips) Music-A.C.A. (Pioneer)
\n(leader)
\n2) CONCERT PIECE Violin and Tape 1969 (leader) 2 channel, 7 \u00bd ips) Music-A.C.A (Pioneer)
\n(leader)
\n3)\u00a0 BELLS: Chorus and Tape. 1969. (leader) (1 channel, but taped on both 7 1\/2 ) Music-Belwyn.
\n(leader)
\n4)\u00a0 DUOS FOR ONE: Easy Piano pieces and tape (1 chan, taped on both \u20137 \u00bd). Music, A.C.A. (Pioneer)\u00a0 no leader between movements.
\nMirrors\u2014Canon\u2014Thoughtful Moment\u2014Canon II\u2014Where\u2014Player chooses\u2014Showoff.
\n[added in pencil:] <\/em>S.I.U. Studio<\/td>\n<\/tr>\n
item 4<\/strong><\/td>\nCarter
\nElliot Carter: Concerto for Piano [VIC LSC-3001]
\n7 1\/2\u201d stereo<\/em><\/td>\n<\/tr>\n
item 5<\/strong><\/td>\nCarter: Dbl. Conc.\/Var. For Orch.
\nCarter: Double Concerto for harpsichord, piano & two chamber orchestras (1961).
\nVariations for Orchestra (1955)
\nspeed 7\u201d (first work); speed 3 3\/4\u201d (second work); stereo<\/em><\/td>\n<\/tr>\n
item 6<\/strong><\/td>\nCarter: Variations for Orchestra
\nCarter: Variations for Orchestra (1956)
\n7 \u00bd\u201d single-track mono<\/em><\/td>\n<\/tr>\n
item 7<\/strong><\/td>\nCrumb: Star Child
\nCrumb. Star Child
\n7 \u00bd\u201d \u00bd tr stereo<\/em><\/td>\n<\/tr>\n
item 8<\/strong><\/td>\nColumbia-Princeton E.M.C. 10th<\/sup> Ann. Album, vol. 1
\n1) Otto Luening: \u201cIn The Beginning\u201d from Theater Piece No. 2 (1956)
\n2) Milton Babbitt: \u201cVision & Prayer\u201d (1961)
\n3) Ussachevsky \u201cComputer Piece No. 1\u201d (1968)
\n4) \u201cTwo Sketches for a computer piece\u201d (1971).
\n5) Pril Smiley: \u201cKolyosa\u201d (1970)<\/td>\n<\/tr>\n
item 9<\/strong><\/td>\nColumbia-Princeton E.M.C. 10th<\/sup> Ann. Album, vol. II
\n1) Alice Shields: \u201cThe Transformation of Ani\u201d (1970)
\n2) B\u00fclent Arel: \u201cStereo Electronic Music No. 2\u201d (1970)
\n3) Mario Davidovsky: \u201cSynchronisms no. 5\u201d (1969); and, \u201cMusic for Computers, Electronics Sounds and Players\u201d
\n4) Charles Dodge: \u201cExtensions for Trumpet and Tape\u201d (INCOMPLETE)
\n7 \u00bd ips; 2 track stereo<\/em><\/td>\n<\/tr>\n
item 10<\/strong><\/td>\nConstant, Nigg
\nMarius Constant (b. 1925, Rumania): 24 Preludes for Orchestra (1958) [15\u2019]
\nSerge Nigg (b. 1924, Paris): Concerto for Violin and Orchestra (1957) [28\u2019]. Christian Ferras, Violin.
\nHeliodor HS 25058
\n7 \u00bd\u201d stereo<\/em><\/td>\n<\/tr>\n
item 11<\/strong><\/td>\nCrumb: Ancient Voices\u2026.
\nGeorge Crumb. Ancient Voices of Children<\/td>\n<\/tr>\n
item 12<\/strong><\/td>\nDartmouth Prize Winners.
\n[description handwritten on labels affixed directly to reel]
\n<\/em>1) Olly Wilson. Cetus. 1st<\/sup> U. of Illinois.
\n2) Hellerman. Ariel. Col-Princeton.
\n3) Dixi. Polish Radio<\/td>\n<\/tr>\n
item 13<\/strong><\/td>\n\u00a0Davidowsky-Ligeti-Feldman
\nDavidowski [sic]: 3 Synebronisms. 1) Fl & Tape 2) Insts & Tape 3) Cello & Tape
\nLigeti: Atmospheres.
\nFeldman: Out of \u201cLast Pieces\u201d
\n7 \u00bd\u201d<\/em><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 24″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1611768858092{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
item 1<\/strong><\/td>\nDruckman Animus I
\nJacob Druckman: \u201cAnimus I\u201d (13:00).\u00a0 Andre Smith, Trombonist<\/td>\n<\/tr>\n
item 2<\/strong><\/td>\nDruckman: Animus III
\nDruckman: Animus III (1971): clarinet and tape.
\n7 \u00bd\u201d 2-tr stereo<\/em><\/td>\n<\/tr>\n
item 3<\/strong><\/td>\nDruckman: Synapse. Valentine
\nDruckman: Synapse Valentine (1971)
\nSynapse: electronic.
\nValentine: double bass alone.
\n7 \u00bd\u201d 2-tr stereo<\/em><\/td>\n<\/tr>\n
item 4<\/strong><\/td>\nDruckman, Schwantner, Harbison
\nJacob Druckman (b. 1928): Incenters (1968). fl, ob, clar, bn, hn, trpt, trom, vn, va, cello, bass, pa, elec. organ, perc.
\nJoseph Schwantner (b. 1943): Diaphonia Intervallum (1966). Alto Sax, fl, pa, 2 vn, va, 2 cellos, bass.
\nJohn Harbison (b. 1938): Confinement (1965). Fl, ob, E.H., clar, bass clar, alto sax, trpt, trom, vn, va, cello, bass, pa, perc.
\nStereo 7 \u00bd\u201d<\/em><\/td>\n<\/tr>\n
item 5<\/strong><\/td>\nDUTCH
\n[preceded by green leader]
\n<\/em>PETER SCHAT
\n0-0460\u00a0 Entelechy I
\n0468-end\u00a0 Signalement
\n[preceded by red leader]
\n<\/em>LOUIS ANDRIESSEN
\n0-0215\u00a0 Nocturnes
\n0220-0340\u00a0 Ittrospezione III
\nKEES VAN BAAREN
\n0350-0820\u00a0 Concerto per pianoforte
\nCAREL BRONS
\n0830-end\u00a0 Invenzione for organ<\/td>\n<\/tr>\n
item 6<\/strong><\/td>\nDutch\u2014Van Vlijmen, Van Baaren
\n(counter 000) Van Vlijmen: Gruppi per 20 instrumenti e percussion.
\n(counter 173) Van Baaren: Sopraposizioni II.
\n(counter) 303
\n[recorded on Kodak Sound Recording Tape]
\n<\/em>7 \u00bd\u201d full track mono<\/em><\/td>\n<\/tr>\n
item 7<\/strong><\/td>\nFrom Dutch Radio.
\nTR I
\n1) (counter 000) Falla: Concerto, Harps + 5 inst.
\n2) (counter 190) Goethals: Elec. Music Expl.
\n3) (counter 390) Badings: Symphonische Klankfiguren
\n4) (counter 520) C.-Tedesco: Conc. for GuitarTR II
\n1) (counter 000) Feldman: Durations
\n2) (counter 281) Earl Brown: Music for Va, Cello & Piano|
\n3) (counter 315) Alex. Semlinsky: 2 Songs
\n4) (counter 385) Orthel: Picc. Sinfonia.
\n5) (counter) 497. Takemizu:
\n6) (counter 523) Sako:
\n7) (counter 561) Takahashi:
\n8) (counter 619) Cage:<\/td>\n<\/tr>\n
item 8<\/strong><\/td>\nEimert: 6 Studien–Epitaph
\nHerbert Eimert. Sechs Studien (1962).
\nEpitaph f\u00fcr Aikichi Kuboyama (1962)
\n7 \u00bd\u201d 2-tr stereo<\/em><\/td>\n<\/tr>\n
item 9<\/strong><\/td>\nElectronic Music I (from records)
\nDavidovsky: Study #2.
\nEimert: Etude on Sound Mixtures.
\nVar\u00e8se: D\u00e9serts (excerpt).
\nUssachevsky: Metamorphosis.
\nDockstader: Elec. Piece #4
\n7 \u00bd\u201d 2-track<\/em><\/td>\n<\/tr>\n
item 10<\/strong><\/td>\nEloy \/ Pousseur \/ Cage \/ Stockhausen \/ Lazaroff
\nEloy: Equivalences
\nPousseur: Madrigal III
\nCage: Variations IV (etc.)
\nStockhausen: Momente (etc.)
\nLazaroff: Tempi Concertati.<\/td>\n<\/tr>\n
item 11<\/strong><\/td>\nERB
\nDonald Erb: In No Strange Land: trom, bass, tape.
\nDonald Erb:\u00a0 Reconnaissance: vn, bass, pa, perc, Moog synthesizer, and Moog polyphonic instrument. (Live moog.)<\/td>\n<\/tr>\n
item 12<\/strong><\/td>\nFine \/ Knight \/ Laderman \/ Mayuzumi \/ Takemitsu
\n5Irving Fine: Romanza (ww 5ette) 1963.
\nMorris Knight: Instances (ww 5ette) 1964.
\nEzra Laderman: Theme, Variations & Finale for winds & strings (Octet) \u00a01957 (mono).
\nMayuzumi: Mandala Symphony (1960).
\nToru Takemitsu: Textures (1964)<\/td>\n<\/tr>\n
item 13<\/strong><\/td>\nGent\/Inst & Tape
\nGent: Gazella; Posseoir; Goijwerts; Boissons.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 25″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1611768844562{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
item 1<\/strong><\/td>\n[lacks side caption]
\n<\/em>[side 1 citations crossed out]
\n<\/em>Side 2:
\n1) Collages. Roberto Gerhard
\n2) Revelation and Fall. Peter Maxwell Davies<\/td>\n<\/tr>\n
item 2<\/strong><\/td>\nGinastera: Cantata . . .
\nGinastera: Cantata para Am\u00e9rica
\nMagica (perc & soprano)
\nStereo 7 \u00bd\u201d<\/em><\/td>\n<\/tr>\n
item 3<\/strong><\/td>\nHartley: Concerto for 23 Winds
\nHartley. Concerto for 23 Winds (1958)
\n7 \u00bd ips single-track mono<\/em><\/td>\n<\/tr>\n
item 4<\/strong><\/td>\nHearing
\nNo other information<\/em><\/td>\n<\/tr>\n
item 5<\/strong><\/td>\nHenry: Var. for Sigh and Door
\nPierre Henry: Variations for A Sigh & A Door. (Bejart Ballet)
\n3 \u00be\u201d 2-tr stereo<\/em><\/td>\n<\/tr>\n
item 6<\/strong><\/td>\nHenze: Symph. #1, #4
\nSymph. #1-Side 1
\nSymph #4-Side 2
\n[recorded on a Kodak Sound Recording Tape, 1250 ft. on 1 1\/2 DUROL BASE, type 31A; purchased at Sibley, Lindsay & Curr Co.]<\/em><\/td>\n<\/tr>\n
item 7<\/strong><\/td>\nHusa: Prague.
\nDr. Barlow. Husa-Music for Prague<\/td>\n<\/tr>\n
item 8<\/strong><\/td>\nIMAI
\nYoshika Imai, piano. February 4, 1982 8:30 pm. Kilbourn Hall
\n[recital by candidate for the degree Master of Music in Performance and Literature, and for the Performer\u2019s Certificate. Student from the class of David Burge.]
\n<\/em>Program:
\n1) Sonata No. 27 in G major- J. Haydn
\n2) Cha\u00eenes (1973) Part I-Akira Miyoshi.
\n3) Rhapsodies (1973)-C. Curtis- Smith
\n4) Reflexives for piano & tape-Joe Hudson
\n5) Barcarolle, op. 60 in F# Major-F. Chopin.
\n\u00bc tr. stereo 7 \u00bd ips tails out<\/em><\/td>\n<\/tr>\n
item 9<\/strong><\/td>\nISCM 1978
\nISCM [International Society for Contemporary Music] Helsinki 1978.
\nMache: Octuor (France).
\nMaros: Lament (Hungary).
\nHeinio: Akasa (Finland).
\nShinohara: Relations (Japan).
\nConsoli: Music for Chambers (USA).
\nLeuendi: Six Turkish Folk Poems (Holland).
\nFrom WRVO, Oswego 6-20-79<\/td>\n<\/tr>\n
item 10<\/strong><\/td>\nIVES
\nMusic and Art. Lecture Tape
\n[! conflicting information: side caption \u201cIVES\u201d prominently written over previously entered side caption \u201cMUSIC and ART\u201d]
\n<\/em>7.5 ips<\/em><\/td>\n<\/tr>\n
item 11<\/strong><\/td>\n[lacks side caption]
\n<\/em>Ives Psalm 90
\n[extensive previously written track listing crossed out with large black X]<\/em><\/td>\n<\/tr>\n
item 12<\/strong><\/td>\nKagel, Eimert, Ligeti
\nKagel: Transici\u00f3n.
\nEimert: Selection 1.
\nLigeti: Articulation<\/td>\n<\/tr>\n
item 13<\/strong><\/td>\n\n

Kagel, Stockhausen<\/p>\n