In 1982, the composer began his third massive theatre entitled The Scratch Project: Arcts. The fours acts are: Testimony; Antiphony VIII (Revolution); Pentagon/y; and De/bate. They are variously concerned with war marking, violence, force, male-sexuality, and the social dysfunction(s) of argument. Concerning Antiphony VIII, the work herewith submitted: Antiphony VIII is regarded by the composer as a theatre, in which a percussionist functions as performer, acrobat-actor, and dancer. A complex score is played from memory on 40 percussion instruments made of steel and skin. Steel represents death, skin represents life. The performer is asked to experience four changes of state, namely: denial, indifference, fire-with-fire, uncertainty. These states reflect certain current societal attitudes toward Nuclear War. Following is a brief scenario: The performer enters from stage right, clicking his drumming sticks very softly. He approaches an oblong set-up, 8' x 16' (cf. score for layout); lifts up a high-hat in order to enter it; puts the high-hat back down ("imprisioning" himself, thereby). He plays out the aforementioned psychodrama. Synchronously, he is bombarded by tape events which also pit death-like sounds with life-like ones. Eventually, he loses his sticks, (a life-line for professional percussionists); resorts to playing with his hands (skin on skin). He finally rises, exhausted and breathing heavily. He freezes in this position while staring outwardly toward the audience. A spot on his face gradually fades. The stage becomes dark.
Jazz Lecture Series presentation by Bobbi Humphrey on March 3, 1983 at 9:30AM at the UNT College of Music. Includes lecture and performance by Bobbi Humphrey, interspersed with questions from the audience.
Jazz Lecture Series presentation by Bobbi Humphrey on March 3, 1983 at 2:00PM at the UNT College of Music. Includes lecture and performance by Bobbi Humphrey, interspersed with questions from the audience.
Recording of Larry Wendt's Broken Crystals, from "World-Class Technology." It is an extended narration piece that takes the form of a personal recollection. It is narrated by a Silicon Valley worker who works for an integrated circuit foundary that grows garnet crystals for the manufacturing of bubble memory. The factory is overcome with insects that destroy the crystals, and, in response, Silicon Valley is bombed with Cane Toads in order to get rid of the bugs. As a performance piece, the narrative would be read live while the background tape of manipulated environmental sounds along with a vocal processing device to allow immediacy to the live performance. Sometimes performed with theatrics or projected slides.
Recording of Roland Yvanez's "Brumes" for solo magnetic tape. The title translates to "Mists." The piece evokes the relationship between water and air on the surface of the ocean.
Recording of Reed Holmes's Carousel for choir and tape. The two movements represent a different aspect in the cycle of life: movement 1 "The Whispering Wind" is from the point of view of the Elder, introspective and thoughtful, and movement 2 "Carousel" is from the point of view of the Younger, rhythmic, aggressive, spontaneous, and freely melodic. The choir adds heterophonic elaborations of the pattern to the second movement.
This is a co-production between the studio of the Technical University of Berlin and the Ghent IPEM Studio in 1984. The piece continues the line narrative of my other electroacoustic compositions, such as Fabulas, Fabulas segunda parte or El cuaderno del alquimista ("the notebook of the alchemist"). Charly finds inspiration in the science fiction fiction Flowers for Algernon ("Flowers for Algernon") by Daniel Keyes. This classic of the genre tells the story of Charly, mentally handicapped who, thanks to a surgical intervention, will become a genius. By testing a haunting insight, Charly discovers that the effects of the operation are reversible: he will return to his original disability. The piece does not follow a mirror shape, as the text might have suggested in the first term, but, through the various electroacoustic procedures, it proposes a perpetual metamorphosis of the materials: a minimalist melodic theme will become a motive of orchestral dimension, to be metamorphosed again into a whispered human voice. The piece is stereo / quadraphonic. Technical collaboration: Folkmar Hein for the Technical University.
Jean-Baptiste Barrière: "Chréode " is a borrowed term from morphology and biology (from the Greek "cre" it is necessary," and "Odos" path: Necessary path). It is used here as a metaphor for a systematic and intersecting investigation of the material and the organization. It is about my time of a generic title for a set of computer works, of which "Chréode I " is the first element. Although the materials are very worked, the attention in this piece carries more specialty on the organization. "Chréode i " is the first step towards a grammar of processes that I would like to attempt to elaborate. This research on musical processes, their fields of action and their limits, has been thought as a strategy of approach to the musical territory, as it is found revolutionary by the possibilities offered by the computer. A very general destination for this project was experimenting with different types of organizations, and a higher level of learning about the time structures formally. The compositional structures as well as partitions have been elaborated in the programming environment forms with the help of Pierre Coine and Yves Knob. The material sound has been chosen to allow a certain type of control over the timbre, concentrated on a small number of compositionally relevant settings. Thus the work on the timbre is essentially based on the compression and expansion of the formants, or spectral envelopes, this starts from material of the vocal types and then deriving these modules to other modules, with or without family references of instrumental stamps. The synth has been carried out with the singing program. The piece has been realized on the computer PDP-10 at IRCAM. The singing/forms environment has been found particularly adapted to this type of work, and Xavier Rodet must be thanked for his …
Recording of Jean-Baptiste Barriere's Chreode I. The title Chreode I serves here as a metaphor for a systematic and intersecting investigation of material and organization. At the same time, it is a generic title for a set of computer works, of which "Chreode I" is the first element. Although the materials are very elaborate, the attention in this piece is more specifically on the organization. This research on musical processes, their fields of action and their limits, was conceived as a strategy for approaching the musical territory, as it is renewed by the possibilities offered by the computer. A very general destination of this project was therefore to experience different types of organizations, and at a higher level to learn how to structure them in time and formally. The compositional structures as well as the scores were developed in the FORMES programming environment with the help of Pierre COINTE and Yves POTARD. The sound materials have been chosen to allow some type of control over the timbre, focused on a small number of very compositionally relevant parameters. Thus the work on the timbre is essentially based on the compression and the expansion of the formants or the spectral envelopes, this by starting from materials of vocal types then by deriving these models towards other models, with or without references. ˆ families of instrumental timbres. The synth was performed with the CHANT program. The whole piece was done on the PDP-10 computer at IRCAM.
Recording of Shin'ichi Morita's Coeficient of rebound. The piece focuses on the concept of rebound, which makes up the natural rhythm and influences the sound. Based on a calculation Morita made on the computer, he added realized sound and natural sounds to the rhythm of rebound to create the piece.
"Comeclose and sleepnow" is based on the homonymous poem by R. Mac Gough, recited by Stephen Montagne. The piece is composed in six sections. In each section are developed parts of the converted text and are highlighted phrases or words of poetry. All the sound material of the piece was composed solely by transforming the recited text.
Recording of Lelio Camilleri's Comeclose and Sleepnow. The piece is made up of six sections. In each section are developed parts of the transformed text and are highlighted sentences or words of the poetry. All the sound material of the piece is composed only by the transformation of the recited text. "Comeclose and Sleepnow" is based on the namesake poetry by R. Mac Gough, recited by Stephen Montagne.
Advertisement for "Concertos do Meio-Dia" (Midday Concerts) at Universidade Estadual de Campinas. Padma Rangachari is listed as performing Música Clàssica Indiana at the next concert.
Crying the Laughing and Golden is a tape work created in 1983 at the electronic studios of Sweelinck Conservatory in Amsterdam. The sounds of a woman laughing and whispering form the basis of most of the sounds in the piece. Studio techniques of multi-tracking, layering, filtering, and modulation were employed as well as synthesis of original sounds. The composer evokes the inner world of a woman's mind, evoking various emotional states of eroticism, violence, joy, fear and ultimately calm. The work has been presented several times in such cities as Amsterdam, Brussels, Heidelberg, Kassel, Los Angeles, New York, Memphis, Atlanta, and Boston. It is the soundtrack for an experimental video by Paul Muller entitled Reflections in a Sound Mirror which has won numerous awards in Milan, Montreal, Sienna, and Berlin. The video was recently acquired in the permenant collections of both the Stedelijk Museum, Amsterdam, and the Department of Visual Arts of the Dutch government.
Recording of José Augusto Mannis' Cyclone. The composer describes this work as a language of electroacoustic music in which what counts is the gesture of the sound. The movement of the composition is lively, vigorous and energetic, creating clear musical articulations.
Recording of Alain Thibault's Deca-Danse. Using a recording of a speech by President Ronald Reagan, Thibault makes a statement about the destruction that humans cause for one another. Th piece is split into ten sections: 1. Technopolis; 2. You are Loved; 3. Special Emission; 4. President's Message; 5. Reagan's Happiness; 6. Reagan's Delirium; 7. The Most Beautiful Gift of God; 8. Generation x; 9. Mx; 10. Future x. The piece was created at the Studios Bruit Blanc and McGill University.
The kendang is a Javanese drum. In Javanese music, the drum sounds are onomatopoetic, that is they are duplications of spoken language. An appropriate kendang player, however, will always tend to enrich his sound repertoire by imitating arbitrary sounds of the environment. My composition Dialogue refers to this. First the computer-generated sounds are introduced in an onomatopoetic way and imitated by the kendang player. Then the computer sounds develop in a way as to move finally far beyond the expressive power of the kendang. The natural and the synthetic sounds enter in a heavy conflict leading to a climax. The contrast is, however, bridged eventually by fragments of the Javanese music "Subakastawa" in the tender Slendro-9 tuning. The piece was created at Utrecht Muziekcentrum on the 24th of January 1984 with the collaboration of the Javanese kendang player Supangah Rahayu (Paris).
"Divertimento Nostalgico / 4 Puertas", is an electroacoustic work. The variety of the language used characterizes it as divertomento, since in it very simple modal or tonal melody lines are interlaced in search of a more complex language or sound discourse. These lines or melodic games, are transformed at times into a material of great density producing and proposing a strange and different way of sound relation. At other times, traditional music emerges as an auditory need, as an act of repose. The almost infantile counterpoint becomes adult complexity, the dislocated game passes from the known to the surprising and in the same moment it is recognized again. Doors are surprises behind which there is always something ... Nostagia can appear anywhere ... music is a memory. This work was composed in 1983, in ARTE 11.
Du Dehors is based on a poem by Paul E’luard from the cycle “Poésie et Vérité” (1942). It is a dramatic poem that tells us about the reflections of the mind of a man sitting in jail. This composition is the 3rd part of my piece “Du dehors-Du dedans” for mezzo-soprano and orchestra in four parts. The tape has been realized in the studio for electronic music of Radio Hilversum.
In this admirable poem, everything is included: rhythm, velocities, movements, spaces, materials, numbers and form. Music puts at the service of the text natural images / movements, their synthetic imitation and transformation chosen for their expressive character. Of symphonic character by the wide variety of sound sources, the mixing creates uniformized energy textures, of melted character, vertical, or, on the contrary, contrapuntal chains. Exile: moment of transition between two worlds ... Directed at the analogue studio Métamorphoses d'Orphée, Musics & Research, Ohain (Belgium) with the radio creation fund of the French Community of Belgium for the new version.
Fantasies for Soprano Saxophone and Tape was written in 1983 for saxophonist Kenneth Fischer. It is dedicated to him and to the memory of Peter Tod Lewis. The music commemorates Lewis' wit and taste for the unexpected. Each movement addresses a different facet of his rich personality. The first movement, "Imminence," is a tongue-in-cheek serial work, involving grotesque tape sounds and robust counterpoint between the tape and the saxophone, resolving to an uncertain and hazy cadence. The second movement, "Remember," is a gentle recollection of Lewis' warmth, punctuated by a cry of grief at the end. The final movement, "Homage (Little Birds)," is a rollicking juxtaposition of the classic and the popular in 20th century music. The lyricism of the saxophone music is violated repeatedly and finally squelched by the tape's jolly violence, spiced by quotations from contemporary rock and roll. With the exceptions of the "rock" quotations, all of the analog tape sounds were created using complex concrete manipulation of loops of gong, cymbal, and almglock attacks. The work was realized in the Electronic Music Studio of the University of Georgia.
Recording of Pril Smiley's Forty-three (43). The sounds of this piece are structured in complicated layers that induce a kind of "x-ray hearing," focusing on different events within the texture.
Jazz Lecture Series presentation by Herb Ellis on April 5, 1983 at 9:00AM at the UNT College of Music. Includes lecture and performance by Herb Ellis, guitar, interspersed with questions from the audience.
Jazz Lecture Series presentation by Herb Ellis on April 5, 1983 at 2:00PM at the UNT College of Music. Includes lecture and performance by Herb Ellis, guitar, interspersed with questions from the audience.
Recording of Jukka Ruohomaki's Hommage à Winston Smith. This work is a recomposition of old sound materials made for am experimental short film. The film celebrates the year 1984, and it develops further the basic ideas of G. Orwell's novel: human beings are produced, exploited and destroyed according to the needs of society. The sounds have here undergone manifold processes, male voices being the main material.
Recording of Chris Chafe's "In a World" for cello and computer sound. Computer sounds were realized at Stanford University's Center of Computer Research in Music and Acoustics. Software was created to control legato phrasing of singing voice models, and to perturb them in direction of other instrumental sounds,
Recording of James Dashow's In Winter Shine. This work was commissioned by the MIT Council on the Arts. This work has been separated into two tracks and is meant to be played "quartet-style" with each loudspeaker in the quadraphonic work thought of as a separate performer. The title of this work comes from a line in John Ashbery's poem "Litany".
"Incontro con Rama" was created for the first time in 1982 after a work of absolute complementarity between the indications, the aspirations of Luigi Ceccarelli and the technical practice of Renzo Brocculi: a splendid creature generated in a single week of close engagement with two trombones, a tuba and a complex electronic device for delaying and accumulating sounds, built by the author to do this work. The writing of this work moves on two main tracks: on the one hand the preference to the timbric dimension and to the spectral microvariations, on the other the almost complete absence of melody, in the usual sense of the term. The reference to the rhythm of breathing, as an alternative to the heart rhythm (which music usually favors), however, is the only supporting base of all the architecture on which I conceived this piece. Certainly these that we have mentioned are rules that postpone more to oriental conceptions of sound that to those of our music: in "Incontro con Rama" we can clearly recognize the "OM", the fundamental sound that generates the universe according to Indian mythology. Indeed we can say that certainly "Incontro con Rama" not other than the "OM" in its essence more pure. To listen to this music it is necessary to overcome the apparent fixity of the sound, and to enter the sound itself to discover its extreme complexity and continuous variability. In this way, the universality that translates from the breath of the trombonist can be perceived with a new concentration of listening: an evident reference to the primigenial cosmicity of the breath. Here, then, that the fixity of the atmosphere will serve to better perceive the complex timbric stratification that occurs between the voice of the live trombone and this same voice delayed and superimposed on itself …
There is an axial note, Db, out of which some sounds escape occasionally, only to return to it. All other sounds are stratified around these, and the entries of instruments are somewhat free, in a quasi canonic imitation. The tape part was realised with a Synclavier II Digital Synthesizer at the Electronic Music Studio, McGill University. The piece was written for the Agrupaci—n Nueva Mœsica/Rosario [ANM/R] and its conductor, composer Dante Grela. Interferences III is dedicated to them. Premiere: August 14, 1983, during a concert organized by Asociacion de Amigos de la Escuela de Mœsica and the Facultad the Humanidades y Arte UNR, at the Sal—n Italia, Rosario. Chamber Ensemble conducted by alcides lanza. Canadian premiere: with the group GEMS, during the Festival of Canadian Music, organized by Carleton University, at the Ecole Secondaire de Lasalle, Ottawa, on February 27, 1984. LP recording: GEMS Ensemble, alcides lanza, conductor [McGill Records] CD recording: GEMS Ensenble and soloist Meg Sheppard, EMS 35th anniversary [double CD, McGill Records] Score: SHELAN, eSp 8310
Jazz Lecture Series presentation by Jimmy Giuffre on April 26, 1983 at 9:30AM at the UNT College of Music. Includes lecture and performance by Jimmy Giuffre, saxophone, interspersed with questions from the audience.
Jazz Lecture Series presentation by Jimmy Giuffre on April 26, 1983 at 2:00PM at the UNT College of Music. Includes lecture and performance by Jimmy Giuffre, saxophone, interspersed with questions from the audience.
Recording of a Jazz Lecture Series presentation by Jimmy Heath on February 22, 1983 at 9:30AM at the UNT College of Music. Includes lecture and performance by Jimmy Heath, saxophone, interspersed with questions from the audience.
Recording of a Jazz Lecture Series presentation by Jimmy Heath on February 22, 1983 at 2:00PM at the UNT College of Music. Includes lecture and performance by Jimmy Heath, saxophone, interspersed with questions from the audience.
Jazz Lecture Series presentation by Johnny Smith on April 12, 1983 at 9:30AM at the UNT College of Music. Includes lecture and performance by Johnny Smith, guitar, interspersed with questions from the audience.
Jazz Lecture Series presentation by Johnny Smith on April 12, 1983 at 2:00PM at the UNT College of Music. Includes lecture and performance by Johnny Smith, guitar, interspersed with questions from the audience.
A composition for two tapes: one 1/4 inch four track quadrophonic tape and a stereo tape. for two didgeridoos, a bull-roarer plus live electretonics tree with waving speakers on 4 meter long fishing rods plus magnesium lights. Voice: narrator Stephen Dunstan, Australia. Sounds of nature: three actor imitating sea, winds and seagulls. All instruments played by Kurre Nykopp, Finland. Duration 12.45 min. Premiere at the Helsinki Biennale in 1983. This piece has several later versions realized f.g. with saxophones, litophones an tape. All rights owned by authors. E-mail: agaps@nettilinja.fi Programme note: Ò How did living on the Earth start? From which does the time start? Hod did Kosmos got it«s birth? The Big Bull was slaugtered, the Giant was killed, the Chaos was cut, the Mussel was split, Male and Female were separated. This piece is a synthesized fiction of the Genesis story tought to us. It is a story from the very beginning and a story fron mankind«s future. The outer form has three elements: - a four channel tape with it«s Genesis story and the narrator - the tree for good and bad wisdom (live-electronics) - maybe the oldest known instruments of mankind. the didgeroos and the bull-roarer (Schwirrholz)
Recording of Joris De Laet's Khene Dimensioned II, composition for tape magnetic in which was used a material sound both concrete and electronic. The sounds recorded come from the "KHAEN", a mouth organ from Asia, especially Laos. The instrument is composed of 16 bamboo pipes. The sounds they produce are rich in harmonics and produce 16 different sounds. The composer had 6 instruments. No two are pitched the same. One of these Khaens was used as the basis for the whole work. The tone of his 16 sounds have been transformed into Herz. From this frequency data, a data matrix and served for the composition of numerical and material ratios for the composition of algorithms and for the control of an analog synthesizer by computer. The dimensions of the intervals of this popular Asian instrument dominate throughout the work for the realization of musical intentions. All the frequencies that are part of the electronic sound components are the same as the basic khaen scale. In this way, dense sound spectra are formed in relation to the internal harmony of the acoustic instrument. There are four parts. Each development is specific and in parametric relation with the intervals of the khaen.
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