"Favorite Sounds" (1963) by Tony Schwartz
"Favorite Sounds" and was recorded at the Jewish Guild for the Blind in New York City in 1963. For over 30 years Tony Schwartz produced weekly radio programs about sound for the NYC public radio station, WNYC. Schwartz also created records for Smithsonian folkways that feature his distinct style, described as “part anthropological study, part hometown travelogue.” Schwartz developed a portable tape recording set-up in the 195O’s which enabled him to collect sounds outside the studio – on the streets and in his home. He edits and presents the pieces in a distinct way. Plus, Tony Schwartz is very likable; a tenderness, humor, curiosity, and intimacy come through in his pieces. A poignant detail is that he was agoraphobic and rarely traveled outside his NYC neighborhood. His recordings create an expansive sonic world. For more information Library of Congress Tony Schwartz collection: https://www.loc.gov/rr/record/schwartzrecordings.html. - Described by Wave Farm Radio Artist Fellow 2019/2020, Karen Werner.

"How We Remember" (1970) by Tony Schwartz
"How We Remember" features the voices of New York City teenagers and is from 1970. For over 30 years Tony Schwartz produced weekly radio programs about sound for the NYC public radio station, WNYC. Schwartz also created records for Smithsonian folkways that feature his distinct style, described as “part anthropological study, part hometown travelogue.” Schwartz developed a portable tape recording set-up in the 195O’s which enabled him to collect sounds outside the studio – on the streets and in his home. He edits and presents the pieces in a distinct way. Plus, Tony Schwartz is very likable; a tenderness, humor, curiosity, and intimacy come through in his pieces. A poignant detail is that he was agoraphobic and rarely traveled outside his NYC neighborhood. His recordings create an expansive sonic world. For more information Library of Congress Tony Schwartz collection: https://www.loc.gov/rr/record/schwartzrecordings.html. - Described by Wave Farm Radio Artist Fellow 2019/2020, Karen Werner.

"Music in Marble Halls (1962)" by Tony Schwartz
"Music in Marble Halls" is included in Schwartz’s Folkways album, You're Stepping on My Shadow, Sound Stories of NYC. For over 30 years Tony Schwartz produced weekly radio programs about sound for the NYC public radio station, WNYC. Schwartz also created records for Smithsonian folkways that feature his distinct style, described as “part anthropological study, part hometown travelogue.” Schwartz developed a portable tape recording set-up in the 195O’s which enabled him to collect sounds outside the studio – on the streets and in his home. He edits and presents the pieces in a distinct way. Plus, Tony Schwartz is very likable; a tenderness, humor, curiosity, and intimacy come through in his pieces. A poignant detail is that he was agoraphobic and rarely traveled outside his NYC neighborhood. His recordings create an expansive sonic world. - Described by Wave Farm Radio Artist Fellow 2019/2020, Karen Werner.

"Oh Sweet Potato" (2012) and "Solo for Abandoned House" (2011) by Hanna Hartman Hanna Hartman’s work is both abstract and very engaging, and she has received a lot of international recognition and prizes for her work. Her website described her approach as “Having developed her very own language, Hanna Hartman creates compositions that are exclusively made up from authentic sounds which she has recorded around the world. Sounds are taken out of their original context and thus perceived in their purity. Hanna Hartman seeks to reveal hidden correspondences between the most diverse auditive impressions and, in new constellations, she creates extraordinary worlds of sound.” "Oh Sweet Potato" and "Solo for Abandoned House" are presented on Silence Radio in Belgium. - Introduced by Wave Farm Radio Artist Fellow 2019/2020, Karen Werner.

The Wave Farm Broadcast Radio Art Archive is an online resource and broadcast series on Wave Farm’s WGXC 90.7-FM, which is syndicated to stations across the country through The Radio Art Hour. It aims to identify, coalesce, and celebrate historical and contemporary international radio artworks created specifically for terrestrial AM/FM/Shortwave broadcast, whether it be via commercial, public, community, or pirate transmission. The archive is a product of Wave Farm's Radio Artist Fellowship.

Radio artists explore broadcast radio space through a richly polyphonous mix of practices, including poetic resuscitations of conventional radio drama, documentary, interview and news formats; found and field sound compositions reframed by broadcast; performative inhabitations/embodiments of radio’s inherent qualities, such as entropy, anonymity and interference; playful celebrations/subversions of the complex relationship between senders and receivers, and the potential feedback loops between hosts and layers of audience, from in-studio to listeners at home to callers-in; use of radio space to bridge widely dispersed voices (be they living or dead), subjects, environments and communities, or to migrate through them in ways that would not be possible in real time and space; electroacoustic compositions with sounds primarily derived from gathering, generating and remixing radiophonic sources. Note: Wave Farm continues to expand this definition of radio art through engagement with contemporary practices including those revealed by Wave Farm Artists-in-residence, and the Radio Art Fellowship program.