That sense of expressive, unrestrained spontaneity is, of course, a crucial component of Mr. Eggleston’s quickly shot, uncontrived photographs as well. “I think there’s absolutely a link between music in general and what I do in photography,” he said. “I don’t know what it really is, but it’s there.” Even on the album’s two recognizable tracks — dramatic takes on songs by Lerner and Loewe and Gilbert and Sullivan — there is the feeling of listening to arrangements and performances that have been captured in a passing moment.

Comprising mostly self-compositions that, like many of Mr. Eggleston’s photographs, are untitled, “Musik” was entirely improvised. “Sometimes I play for friends and they’ll say, ‘I just that love that — would you play it over?’ And I say, ‘I can’t.’ I’m not able to record it in some part of my memory, so I’m not able to do it again.”

The album was put together by the producer Tom Lunt, a longtime fan of Mr. Eggleston’s photography who became aware of the artist’s musicianship through the 2005 documentary film “William Eggleston in the Real World.” About a decade ago, a Memphis-based friend introduced him to Winston Eggleston, the photographer’s son and the director of the Eggleston Artistic Trust. With the family’s blessings, Mr. Lunt began to methodically go through the Korg recordings, stored on 10 digital audiotapes, a handful of digital compact cassettes and 49 floppy disks.