Commercial recording.

1. "Introduction," 1983 November 2, West Berlin. Dr. perc. - okay Temiz (Oriental Wind). Bass - J. Wuchner (Vienna Art Orchestra), piano and voice - Tayfun. 2. "Ahmet and Gülbahar Come Together," 1984 May 5, Utrecht. Recitation - Hürdem Gurel. Piano - Tayfun.

Commercial recording.

Commercial recording.

Albany Symphony Orchestra, David Alan Miller. Commercial recording.

Gürer Aykal, yön. 1. Glinka, "Russlan ve Ludmilla Uvertürü." 2. Saygun, "Keman Konsertosu," Suna Kan, keman. 3. Çaykovski, Senfoni No. 5

Side A: As Time Goes On. 2. The Way I See You. 3. In Favour. 4. Satellite Service. 5. North West. 6. Ahah Sureme. 7. Unicorn. 8. Fun Town. Side B: Sultan of Strings. 2. Old WOrld. 3. Painting on Silk. 4. Devil's Dance. 5. Windmill. 6. Category 3.

Görseu, piano, Harris, vocal. Istanbul. Side A: 1. They Say it's Wonderful. 2. Polkadots and Moonbeams. 3. Have You Met Miss Jones? 4. Moon RIver. 5. These Foolish Things. 6. The Nearness of You. Side B: 1. My One and Only Love. 2. I'm Glad There is You/Lush Life. 3. Smoke Gets In Your Eyes. 4. Like Someone in Love. 5. What a Wonderful World. 6. That's All. Commercial Recording.

Side A: 100 Proof Songs, James Anderson. Side B: Ornette Coleman, last song with Marianne Faithful

Side A: Count Basie TV, Duke Ellington TV. Side B: Duke Ellington TV.

1. Vivaldi, Violin Konzert A-Moll 2.-3. Satz. 2. Paganini - Moses Variationen. 3. Koussewitzky, Chanson trist.

Side 1: Franck: Quintet in F Minor. Leonard Pennario, Jascha Heifetz, Israel Baker, William Primrose, Gregor Piastiogorsky. Side 2: Brahms: Sextet in G major. Jascha Geifetz, Israel Baker, William Primrose, Virgina Majewski, G. Piatigorsky, Gabor Rejto

Commercial recording.

Side 1: 1. Antiquated Love. 2. Ancient Dancer. 3. Intuitively. 4. En Guzel Deniz. 5. Without Rhyme or Reason. Side 2: 1. I See Your Face Before Me. 2. I Thought About You. 3. Peaceful Heart/Gentle Spirit. 4. Istanblue.

Nina Lugovoy and Charles Libove

Side A: Primitive Modern. Gil Melle, baritone saxophone. Joe Cinderella, guitar. Bill Phipps, bass. Ed Thigpen, drums. Side B: New Conversations. BIll Evans, piano.

Side 1: with André's poems. Side 2: without poems.

Side A: Mouloudji Chante Prevert. Side B: Ogeret Chante Aragon.

Mix tape of Marilyn Monroe songs

Several short recorder tests separated by long gaps of silence.

I never want to love [illegible] S. Basey, The Way We Were, G. Knight

Second clarinet part, electronically transformed. Band 1: practice copy; Band 2: Performance copy; Band 3: Work copy.

Poem by Stéphane Mallarmé. The voice of Erdem Buri and its electronic transformation. Stereo disc master.

No. 1: Study after Jasper Johns ("Four the News"). No. 2: Study after Ahmet Gursoy ("Green on a Black"). No. 3: Study after Jean Dubuffet ("Bowery Bum").

Stereo master copy

1. Bowery Bum (1964), Visual Study No. 3 after Jean Dubuffet. 2. Agony (1965), Visual Study No. 4 after Arshile Gorky. 3. White Cockatoo (1966) Visual Study No. 5 after Jackson Pollock. 4. Intermezzo (1964). 5. Le Tombeau d'Edgar Poe (1964) (Poem by Stephane Mallarme), Erdem Buri, speaker.

1. Bowery Bum (1964), 2. Agony (1965), 3. White Cockatoo (1966) 4. Intermezzo (1964), 5. Le Tombeau d'Edgar Poe (1964)

Tape obbligato part - original. Followed by performance of piece 1981 March 28, Howard Shanet conducting String Revival

Work copy, material, complete work copy.

1. Anacolutha (1965). 2. Piano Music for Performer and Composer (1967), George Flynn, pianist (pre-recorded). 3. Transitive II (1965-1966). First generation dubs.

First generation dubs. In Prelude XII: Güngör Bozkurt, speaker (Poem by Orhan Veli Kanik)

1. Hyperboles, 1971. 2. Prelude No. 8 to the memory of Edgard Varèse, 1966

Clarinet piece, three components for sustained section

Freddie Hubbard, composed by İlhan Mimaroğlu

Freddie Hubbard and his quintet, reciters, chorus, and orchestra

Sequence of components unclear. Sustained trumpet tones.

Material and components for Freddie Hubbard piece and word sub-components for intro.

Guevara song. Last few [illegible].

Charles Grau reading, preceded by Mary Ann component.

Mary Ann reading, crowd selections.

All components for crowd sequence.

Crowd components II, transition - Kent State.

This is Combat I Know (Poverty) instrumental component. Prelude to Kent State material. Kent State jazz sequences, unaccepted mixes to check.

Jazz interlude, mixes.

Vietnamese poem and accompanying components.

Jazz interlude II intro, Vietnamese poem components. May also include some discarded components of Wings of the Delirious Demon.

There Could Be Love, Black Soldier mixes and inserts

Finale: segments of rejected mix - components.

Partial electronic and voice final components, also poem reading.

Kent State January 13 mixes: 1. Chorus - strings, 2. Jazz. Threnody and Poverty discarded from master.

Rough mix crowd - chorus; Strings - Black Soldier; String accompanied with reverse reverb

Finished sections, discarded components, etc., dissolve components. Sections redone and transplanted, ending - one version.

Edited trumpet component; Monodrama: accompaniment components, also one version.

Barclay session (Both tracks/reverse), Send Me Books, Datura

Exxon original without electronics, transition to Barclay components, connecting section to Barclay from work copy, Intro Crowd from work copy, Les Gens cut from work copy

Send Me Books final components and Barclay final component in three groups

Rock sequence cut from work copy, Nixon selected [illegible] and Nixon I'm Not a Crook, Sayin Muhbir intro

Rock group, two sequences, equalized

Les Gens: segue to process, also Crowd components. Chorals for Datura, Barclay work sequence, And He's Saying to Me

Including Piroyem acc.

New components and references

1. Virgin Mary 2. Cher Citoyen Mouchard 3. Send Me Books 4. Internationale

Citoyen Mouchard strings and voice components and mix to process; Les Gens electronic components; Send Me Books accompaniment

Anthems, Internationale, CIA. Originals.

Work copy, parts I and II

Concert version

A fantasy for electromagnetic tape featuring Freddie Hubbard and his quintet, with the Barnard-Columbia Chorus, Daniel Paget, conductor; string orchestra, Arif Mardin, conductor and Hammond organ; reciters; synthesized and processed sounds. On texts by F. H. Daglarca, Kirkegaard, Che Guevara, and others. Identified as parts 1 and 3; part 2 unidentified.

Work copy, materials, components

Second group of components

Master safety

1. To Test. 2. Ending of [illegible]. 3. Patty Hearst. 4. Radio Material: 1975 Weather, 1971 with Bobby Short, Tract "Send Me Books"

Sequence of components unclear. Band 1: electric piano component. Band 2: Staircase continuous and music; Staircase bursts to select.

1. New beginning, unused. 2. Original - NY. 3. Hide and Seek, NY original. Last band: delected section from original of rose

End of reel.

Sequence unclear.

Sequence of components unclear. Sequence 11 work copy, five brief sequences work copies. Deployment (original) and unused synthesizer piece. New synthesizer piece (unused). Electric Pf. material and components.

Sequence of components unclear.

Original version of motor scene. Sequences and segments. Originals. Two independent sequences. Nos. 10 and 11. Nos. 12 and 13.

Originals

Sawtooth for rose scene, clarinet shakes for bicycle scene

New material, including Anthems cut from work copy for processing. Work tape: components including Send Me Books backer, Virgin Mary with bass, Send Me Books left channel, Exxon accompaniment.

Track 1: Marcuse, Jane Fonda.

1. Internationale - electronic. 2. Internationale - electronic. 3. Electronic component - unused. 4. Electronic material for "Lecture de Marx," including Chopin quotes, gliss. debout, Tristan - unprocessed. 5. Chopin quotes, plus gliss. Sub-comp. without Tristan. 6. Chopin quotes transformed, plus debout - material. 7. Chopin quotes - material (partly unused). 8. Glissandi, plus low piano. 9. Chopin quotes. Mostly unused experimentation. 10. Debout - material. 11. Connecting electronics to the first piano solo.

Completed edited and timed, but unequalized, component. Also contains İdil Biret WQXR broadcast comment, 1976 January. İdil Biret VOA talk inserts, Marx text recordings out-takes, Voice overdubs for center section of Session - unused.

İdil Biret, piano part. Edited, time, original component. Recorded at Atlantic. Bobby Warner, engineer.

Beginning to middle of page 13 of score, George Flynn.

For jazz group consisting of trumpet, soprano and tenor saxophones, electric guitar, piano, bass and drums, with electromagnetic tape. Tape part.

Text by J.S. Bach, in a French translation. Jean Dupuy, speaker. Columbia-Princeton Electronic Music Center, New York City. Master replaced by copy; Master on LP master reel.

For clarinet, piano and electromagnetic tape. Jerome Bunke, clarinet; Joseph Kubera, piano. 1. Introductory speech. 2. Choice take (out to LP master). 3. Alternate take. Original mixes.

"Musiques Noires"

Tape part (master)

Side A: Luca Lombardi, Variazioni su "Avanti Popolo Alla Riscossa" (incomplete). Side B: İlhan Mimaroğlu, "Ulrike My Hope," with Peg Ahrens, singer.

1. Fanfare. 2. Hyperboles. 3. Anacoluthes. 4. Cipher. 5. La Belle et la poubelle. 6. Wings of the Delirious Demon. 7. Bowery Bum. 8. Coucou Bazar. 9. Music Plus One. 10. Music Plus One for tape and violin. 11. La Ruche. 12. L'Offrande. 13. Sing Me a Song of Songmy. 14. Tract. 15. Still Life.

1. No. 1. 2. No. 8. 3. No. 21. 4. No. 2. 5. No. 11. 6. No. 17. 7. No. 22. 8. No. 9. 9. No. 14. 10. No. 24. 11. No. 12.

Copy of item 340. 1. No. 1. 2. No. 8. 3. No. 21. 4. No. 2. 5. No. 11. 6. No. 17. 7. No. 22. 8. No. 9. 9. No. 14. 10. No. 24. 11. No. 12.

May be blank.

1. Fanfare. 2. Prelude No. 17. 3. Prelude No. 19. 4. Cipher Casting. 5. Prelude No. 20. 6-8. Mao Sketches. 9. Prelude No. 13. 10. Prelude No. 14. 11. Bleaker Streets. 12. Prelude No. 22. 13. Prelude No. 21. 14. Prelude No. 6. 15. Prelude No. 10. 16. The Last Largo.

Both used on archives CD.

Side A: Reel one. Side B: Reel two.

Flashes retake with wrong note; don't use.

1. Fanfare. 2. Prelude No. 17. 3. Prelude No. 19. 4. Cipher Casting. 5. Prelude No. 20. 6. "Letting a hundred flowers blossom..." 7. La Bella et la poubelle. 8. Prelude No. 24. 9. Bleaker Streets. 10. Prelude No. 22. 11. Prelude No. 21. 12. Melody Lost and Found. 13. Prelude No. 10. 14. The Last Largo.

1. The Offering (8:32)("out to new master"), 2. Prelude No. 4 (4:25), 3. Prelude No. 5 (2:28), 4. Prelude No. 7 (2:45), 5. Prelude No. 10 (1:28), 6. Prelude No. 17 (3:27) ("Abandoned as Prelude, No. 17 is now "Istanbul Fog" NOT HERE")

Edited version

1. Sketch 1 (7:50) 2. Sketch 2 (5:27) 3. Sketch 3 (7:10). ("There can be no greater crime"), Three steps of processing/three versions (subject to further processing). GM speech. Electronic part.

Long version (master/work copy) for first performance. To further process if necessary and prepare short version.

Side A: 1. Mini-Preludes (4). 2. Episode 1. Side B: Ussachevsky, Jubilee Cantata

Film, synthesized sections, and discarded [illegible]

Tape part (master)

Two parallel half tracks. Mono; play two channels uncombined.

master

Alternate takes, edited. Amiram Rigai, pianist

to discard

(To be considered for final approval.) 1. 7.5 ips stereo reference from quad original. 2. Tones at 15 ips - 1 kc, 10 kc, 100 cps. 3. Electronic components. 4. Electronic components. 5. Electronic components. 6. Unused components (For possible use elsewhere). 7. Unused components (for possible use elsewhere). 8. Che and translation - prepared component. 9. Che and translation - material.

1. Intro - four channels. 2. Intro - mix with echo. 3. First version - rejected (from quad original). 4. Intro comp. sustained tone and melody, without echo. 5. Electronic component for song. 6. Ending - first version, rejected. 7. Electronic sub-component for song. 8. Other version of electronic sub-component. 9. Electronic component with reverse echo (unused). 10. Song with rough mix and component. 11. Sustained tone component for intro.

1. Pitch "A." 2. Tristan fragment (For "Session"). 3. Piano accompaniment track - unused (Prelude No. 16). 4. Intro - ostinato component. 5. Siegel with piano acc. unused. 6. Piano acc. both tracks - unused. 7. Siegel - Voice component (with echo). 8. Siegel - voice component (original of above [cut to Qt. master]. 9. Siegel - "blue" 10. Siegel out takes. 11. Siegel outtakes

Prelude No. 16 two speed- varied versions - NG. [illegible] work copy. Prelude No. 15

1. Hyperboles. 2. Wings of the Delirious Demon. 3. Intermezzo. 4-9. Preludes, Book I (Nos. 1-6). 10-15. Preludes, Book II (Nos. 7-12). 16-21. Preludes, Books III (Nos. 13-18). 22-27. Preludes, Book IV (Nos. 19-24). 28. Provocations. 29. To Kill a Sunrise.

1. Intro. Three voices/sub-component. 2. Levy: uneq./edited material. 3. Goldstein/Kolodner. 4. Levy with electronic sub-component. 5. Kolodner: uneq. edited material. 6. Kolodner: unused. 7. Electronic sub-component for intro. 8. Electronic material: unused.

1. Sleepsong for Sleepers. 2. Arel: Wall Street Impression. 3. The Last Largo.

Three instruments prelude - work copy components; Discarded guitar prelude material. Identified as part 2; part 1 unidentified.

Main tape

1. Howard Shanet, Presidential Symphony Orchestra, Ankara. 2. Gürer Aykal, Ankara Chamber Orchestra

New vocal track masters, out-takes, edited-out sections. 1. 20th century - unused out-take with unused vocal track. 2. 20th century - Unused instrumental intro (hiss). 3. Your eyes - replaced 2nd violin phrase. 4. The Wall - unused opening with echo. 5. The Wall - new vocal track, edited master. 6. Freedom - New vocal track, edited master, Part I. 7. Freedom - New vocal track, edited master, Part II. 8. Freedom - New vocal track, edited master, Part III. 9. 20th century - New vocal track (unused), Part I. 10. 20th century - New vocal track (unused), Part II. 11. Violin intro phrase takes, plus slowed down (for pitches).

Janis Siegel vocal track with click track, Dolby original

Long version/work copy. Do not use for performance. See final master.

1. First pass, left overshoot. 2. Second pass, lesser overshoot to left. 3. Third pass, still left overshoot.

Quad duplicate from master

1. Screams - component. 2. Counterpoint seq. follow-up component with overdubs. 3. Electronic component for screams. 4. Electric piano follow-up component. 5. Electronic component for screams. 6. Electronic component for screams. 7. Guevara song: electronic component - sustained chord. 8. Hand clap - material. 9. Radio component (Luche), media control, etc. from cassette. 10. "Praise god." 11. Rock seq. with screams. 12. Strings - sustained. 13. Rock material. 14. Rock material.

1. "Say we enjoy..." - one original take. 2. Electronic sub-component for screams - unused. 3. Electronic sub-component for screams - unused. 4. Square wae attacks - unused. 5. Rear channel pianos for counterpoint sequence: timed component with leaders. 6. Metronomes - unused. 7. Metronomes - unused. 8. Electronic low-thump component for "Say we enjoy..." 9. Record-end noise (unused). 10. Square wave attacks - unused. 11. Electronic piano material. 12. Electric piano material.

1. Intro gliss. component 2. Geoffrey/Guevara report - equalized - unused 3. Intro - thumps with piano 4. Geoffrey - unequalized 5. Square wave short tones - unused

[illegible] components for intro, Intro and finale components, Chris reading four times and ambient noise

1. Counterpoint sequence: follow-up component. 2. Guevara report: Geoffrey w. screams - final. 3. Gb transition to Guevara report - component. 4. Screams - component. 5. Guevara report - polyphonic content.

1. Bass line for counterpoint sequence - unfiltered. 2. Guevara report: sustianed sounds = component with overdubs. 3. Guevara report: sustained sounds - overlay sub-components (1). 4. Guevara report: sustained sounds - overlay sub-components (2)

1. Counterpoint sequence: follow-up component. 2. Guevara report: sustained component = unused. 3. High Gb - Interlude after "Today is...". 4. Guevara Song: final component (Used with channels reversed). 5. Bass melody component for counterpoint (filtered) unused. 6. Counterpoint sequence component: two lines. 7. Counterpoint sequence component: two lines, continued. 8. One line of above with metronome: sub-component. 9. Guevara Song follow-up: rock plus (sub-component). 10. Drums (unused). 11. Drums (unused). 12. Guevara Song: electric piano intro (unused0. 13. Guevara Song with electric piano. 14. Guevara Song with synthesizer: unprocessed.

Two versions of intro to Guevara Song

1. [unidentified] 2. other 3. Music/voice sub-component

Identified as parts 3 and 4. Parts 1 and 2 unidentified.

Sequence of components unclear.

See also item 446.

Side A: İlhan Mimaroğ̆lu panel talk. Side B: ASUC panel, excerpts

France-Culture

1. Sleepsong for Sleepers, Mimaroğlu tape part. 2. Sleepsong for Sleepers, Mimaroğlu tape part (5 dB louder). Transferred from 7.5 ips tape, copyright 1985 Tallapoosa Music. 3-5. Arel disc copy.

Victor Schultz, violin. Music Inter Alia concert, recorded live in Winnipeg

Side A: 1. "Pilgrimage to the Forgotten City" (1940), Cemal Resid Rey. 2. Sonata for Flute and Piano. 3. At the Yunus Tomb. Both by Ekrem Zeki Un. 4. "From the Other Diary" (1992), İlhan Mimaroğlu. Side B: 1. Two Songs for Voice and Piano. Cemal Resid Rey. 2. Three Songs for Voice and Piano, Ahmed A. Saygun. 3. Four Etudes on Aksak Rhythms, A. Adnan Saygun.

Side A: U.C. Eskin, "Impressions." İlhan Mimaroğlu, 'L'Eruption de la fin." İlhan Mimaroğlu, Three Songs for Voice and Piano. Side B: Ertuğrul Oğuz Fırat, "Cehennemde Bir Mevsim Çalınmalıdır." A. Adnan Saygun, Three Songs for Voice and Piano.

1. Monolog I, stereo version; 2. Monolog I, mono original; both with Hamrullah Duyau on clarinet. 3. Toccate I and II, mono; George Flynn, piano.

Hermann Scherchen, conductor

Pierre Schaeffer: Etude aux Objects, 1959; François Mâche, Prélude, 1959; Mireille Kyrou, Etude, 1960; François Bayle, L'Oiseau Chanteur

Venice. Galleria del Cavallino. Edition of 56 copies including 6 hors commerce; inscribed '43 / 50' in black ink to central white label.

Venice. Galleria del Cavallino. Edition of 57 copies including 7 hors commerce; inscribed '43 / 50' in black ink to central white label.

Venice. Galleria del Cavallino. Edition of 60 copies including 10 hors commerce; inscribed '43 / 50' in black ink to central green label.

Venice. Galleria del Cavallino. Edition of 60 copies including 10 hors commerce; inscribed '43 / 50' in blue ink to central green label.

Venice. Galleria del Cavallino. Edition of 60 copies including 10 hors commerce; inscribed 'HC' and signed by Dubuffet in ink to central pink label.

Venice. Galleria del Cavallino. Edition of 134 copies including 50 'destinés à l'artiste' with a red label, 60 including 10 hors commerce with a pink label and 24 including 4 hors commerce with a yellow label; inscribed '2/50' and signed by Dubuffet in ink to central pink label.

Venice. Galleria del Cavallino. Edition of 115 copies including 55 'destinés à l'artiste' including 5 hors commerce with a white label and 60 including 10 hors commerce with a pink label; inscribed '49/50' and signed by Dubuffet in ink to central pink label.

Venice. Galleria del Cavallino. Edition of 60 copies including 10 hors commerce; inscribed 'HC' and signed by Dubuffet in ink to central pink label.

1. Bogusław Schaeffer (Poland), Blues 1 for Tape and 2 Pianos, Adam Kaczyniski (first piano/left), Bogusław Schaeffer (second piano/right), recorded Kraków, 1978. 2. La Monte Young (USA), Study 1 for Piano Solo, Adam Kaczyniski, piano, recorded at concert in Kraków, 1963. 3. Mario Davidowsky (USA), Sinchronisms 1 for Flute and Tape, Barbara Svietek, flute, recorded Besgrad, Festival Benes in Yugoslavia, 1968.

Requiem for soprano, mezzo, two choirs, and orchestra - Liliana Poli, Barbro Ericson, Bavarian Radio Chorus/Wolfgang Schubert; Hessian Radio Symphony/Michael Gielen

Ligeti: Concerto for Cello and Orchestra, Hessian Radio Symphony/Michael Gielen. Penderecki: Sonata for Cello and Orchestra, Poznan Philharmonic/Andzej Markowski. Webern: Three Small Pieces for Cello and Piano. Hindemith: Cello Sonata, op. 25 no. 3 (1923). Zimmerman: Cello Sonata (1960).

Scherzo, Berceuse, Danse Russe, Pastorale.

Source material for these abstracted sounds: 1 bell recorded by composer, tree crickets and tree frogs through the courtesy of Dr. Richard Alexander, University of Michigan.

Performed by Queens College Choral Society

Side A: Beyond Black (1985), piano, celesta, electric piano, percussion. Side B: The Blue Journey (1982), piano.

Side A: Infrared Only. New York Youth Symphony, D. Miller, conductor. Side B: Concerto for Piano and Orchestra. Eastman Symphony. Ince, piano. Komatsu, conductor.

1. Pederecki, Threnody; 2. Penderecki, Psalmus; 3. Hodeir, Jazz et Jazz; 4. Messiaen, Timbres Dureés; 5. Boulez, Etude No. 1; . Boulez (?), Von der Unglückliche Lebensbedingunden der Thunfish

First version

Maryanne Amacher from "Everything-in-Air" 1974; Halim El-Dabh, Tahmeel '76; David Behrman Snack; Raymond Wilding-White, Monochromes II (Fanfare for Jasper Johns, Soap, Crusade, Campaign)

Components identified as 1 and 3. Item 2 not identified.

1. Music for string quartet and tape, Camerata Quartet. 2. Music for string quartet and tape, tape part only. 3. Sides A and B of Scapegoat Music, play by D. F. Matthews.

Robert Hamilton, pianist

Cage, Fontana Mix. Varèse, Interpolations. Ligeti, Articulations. Pousseur, 1. Scambi; 2. Etude pour Rhymes; 3. Rhymes. Mel Powell, 1. Events; 2. Electronic setting.

Master. Copy/processed.

Material II-IV

Tautologos II, Visage V

1. Perspectives 2. Scambi 3. Mutazioni, 4. Momenti

Side A: Üstad 3. 1. Rast Kâr-ı Nâtık (15:51). 2. Çin-i Geysusuna (4:26). 3. Ab-ü Tabile Bu Şeb (5:23). 4. Sâki Parıldasın (4:10). 5. Aziz İstanbul (3:58). 6. Dostun Senden Irak Değil (4:10). 7. Affeyle Günahım (3:46). 8. Dumanlı Başları Gâklere Ermiş (5:00). 9. Zeybeklerle Gezer (4:26). 10. Endülüs'te Raks (4:46). Side B: Üstad 1. 1. İstinye Köfezinde (4:39). 2. Bir Merhaleden Güneş le derya Görünür (2:30). 3. Bakın Bâd-ı Semûm oldu ecel âh (2:35). 4. Tekbir ve Salât-ı ümmiye (3:42). 5. Şol cennetin Irmakları (5:24). 6. Ewel Allah Adını Yâd Edelim (3:12). 7. Dağlar ile Taşlar ile (3:15). 8. Çıkmaz Derun-i Dilden Efen-Dim Muhabbetin (4:13). 9. Bir Melek-Seima Peri Gördüm (3:06). 10. Kandilli Yüzerken Uykularda (3:57).

Kamran İnce, conductor

1. Whatzit No. 3, piano 2. Pavanne (8:49) 3. Ecce Homo (8:00) 4. Don't Call Us We'll Call You (8:00) 5. America: Love It Or Leave It I. The Courtship (7:30) II. The Wedding (5:42) III. The Consummation (7:24)

1. Time Motion Study (2:35) 2. Concerto Grosso (10:22) 3. The Natives Are Restless (5:55) 4. Of Time and the River (12:24) 5. Guru (5:25)

Quasar, Andromeda, Polaris, Jupiter, Mars, Terra, Mercury, The Sun and Beyond

Fanfare, Folk Song, Crusade, Folk Song (reprise), Campaign

Southern Voices for Orchestra: Daisy Newman, soprano; Richard Cormier, conductor; Chattanooga Symphony Orchestra. Publisher: Hemmer Press, agent C. F. Peters. Tunings for String Quartet: Ariadne String Quartet.

Program 1: "Study No. 1," Andres Lewin-Richter; "Le Tombeau d'Edgar Poe," "Intermezzo," "Bowery Bum," İlhan Mimaroğlu. Program 2: "Vocalise," Tzvi Avni; "Variations for Flute and Electronic Sound," "Dialogues for Piano and Two Loudspeakers," Wendy Carlos.

Cecil McBee, bass etc. Personnel announced at end.

Side 1: Schumann Fantasie Op. 17. Side 2: Skryakin 2 Preludes, Brahms, Paganini, encores.

Commercial recording produced by İlhan Mimaroğlu

Produced by İlhan Mimaroğlu. Side 1: Maurice Ravel, Serenade grotesque, Gaspard de la nuit (a) Ondine (b) Le Gibet (c) Scarbo. Side 2: Igor Stravinsky, Les cinq doits (the Five Fingers), Valse pour les enfants (A Waltz for the Children), Petrouchka: 3 Scenes (a) Danse russe, (b) Chez Petrouchka (c) La semaine grasse.

Intro (3 takes), [illegible] solo (4 takes), Cue 2 (4 takes), Violent passage (5 takes), Cue 3 (3 takes) Hymns

Side 1: Fauré, Paganini-Liszt, Bach, Chopin. Side 2: Bach, Ravel.

Side A: Bass clarinet x bass clarinet, 1977. Side B: Usmanbaş saxophone quartet, 1978, Rijnmond Quartet

10 takes. Identified as part 3; parts 1 and 2 unidentified.

Sonata 1st Movement: take 1 CT, take 2 CT, take 3 insert f.s. Letter 8, take 4 insert BD letter 8, take 5 insert C.T. letter 8, take 6 insert letter 8. 3rd Movement: 1. C.T. 2. F.S. 3. C.T. 4. INC. 5. C.T. 6. C.T. 1st Movement: Re-take #1, C.T., Beginning insert, good take, tape ran out.

Berceuse: 1. No slate. 2. C.T. 3. C.T. 4. C.T. Tzigane: inserts - 1. 2. 3. 4. 5. Tzigane: inserts from #2, take 6, 7, 8 (page 2 [solo]), 9 (same spot), 10 (page 6), 11 (page 6), 12 (page 6), 13 (page 6) 14 (#12 allegro), 15 #20, 16 #25, 17 F/S Inc., 8, 19, 20 (page 5 top). Tzigane: inserts (cont'd): 21, solo; 22, page # 1 f/s; 23 page # 2; 24 page #3; 25 complete. Blues: take 1 f/s, take 2 b/d; take 3, take 4 from #8, 5 from #8, 6 ending.

Identified as part 2. Part 1 unidentified.

Possibly a commercial recording.

Identified as parts 4, 5, and 7; Parts 1-3 and 6 unidentified. (1) New piano, 4th movement. Pickup from page 52 take 3, 5:30; insert from page 53 take 4, 4:30; insert from end of page 54 take 5 2:05; retake 1 1st Movement, 10:41; retake 1 2nd Movement, 1. 2:46, 2. B.D. 3. 2:50. (2) 1st Movement: retake, track 2: 10:37; Insert, top of page 23, track 3: 1:10. 3rd Movement: retake track 1: F.S. track 2: 20:25. (3) 3rd Movement Pathetique, take 1 4:35, take 2 4:41, insert ending 0:43. Slated 2 retake 3rd Movement take 3 22:15 and beginning of 4th movement.

Stolen Moments; Danyal Lawson, pianist. Concertino for Saxophone; Evan Tate, saxophonist, Manhattan Symphony, David Gilbert, conductor.

Artists Life takes 1 and 2, inserts from Page 20, inserts from beginning. Artists Life inserts 2. from beginning takes 2, from page 3, from page 5, from page 7, from page 10. Artists Life inserts from page 11.

Gypsy Baron

1. "Ouverture." 2. "Dervishes Dancing on Fire". Soprano saxophone: Lennart Åberg. Ney-flute: S. Erguner. Bass: Hans Hartmann. Drums, percussion: Okay Temiz. Piano, synthesizer, vocals: Tayfun. Recorded in West Berlin in studio Thomas Funk. Recorded and mixed by Hubert Henge.

On standard tape: Interview fragment; Jardins sous la pluie (7.5 ips), Two versions: second good editing; Pagodes (3.75 ips), Seyimbike and Refisa Elibay. Last band: Karen Phillips. 1) Cage, Satie; 2) Bedford, 3 3/4 mono.

Berg Concert, Schoenberg - Verklarte Nacht (end cut off), Krenek Sonata

1. Présentation Bayle (expérience acoustique). 2. O notre père (Purgatoire) 3. Energie libre, energie liée (expérience acoustique)

Side A: Marta Argerich, Gaspard, Tuly Sand/Mingus. Side B. Marta Argerich, Valses...Sonatine.

Sequence of components unclear.

Identified as parts 2-4. Part 1 is unidentified. Item 121 was identified as part 2 of this recording; however, upon digitization, it was found to be blank.

1. The Question: intro talk, Cage talk, music; intro music, Ostinato, Haydn parody. 2. The Street That Isn't: music tracks

Completed film. 18 FPS-Sound-ca. 11'30", Sup. 8 Camera original. Includes Kin-o-Lux instructions.

"Out-takes + Other Bits." Sequence of components unclear.

1. İlhan Mimaroğlu (introductory comment). 2. John Cage. 3. Frederic Rzewski. 4. Ann McMillan. 5. Virgil Thomson. 6. Vladimir Ussachevsky. 7. Gunther Schuller. 8. George Flynn. 9. Frank Abbinanti. 10. Barton McLean. 11. Priscilla McLean. 12. Sorrel Doris Hays. 13. Morton Subotnick. 14. Otto Luening. 15. Francis Schwartz. 16. Ned Rorem. 17. İlhan Mimaroğlu (closing comment)

[two films on same reel?]

"Some Tanks ok- select"