UNT Music Library - 161 Matching Results
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- 11 september
- Recording of Carl Bergstrøm-Nielsen's "11 september." The text is from a document called "What is MIR?" which was sent out illegally in Chile in 1974 and from the appeal of MIR two years after the taking over by the junta, on September 11, 1975. A left-wing party, MIR stayed in Chile in order to contribute as efficiently as possible to the building of the opposition. Other sound material also includes sounds from a typewriter and a demonstration at Bastad, Sweden in September 1975 at a tennis match between Sweden and Chile with more than 4,000 participants. The text is taken in small excerpts from the document in Spanish, English, Swedish, Danish, French, Dutch, and Icelandic. The piece consists of three sections overlapping each other gradually, which shows the relationship between the spoken words and the immediate danger connected with that text. The first section "as a spontaneous statement," deals with the document at its direct background: the silence is broken, in spite of the danger connected with the writing, manifolding papers that criticize the politics and methods of the junta and discuss the strategy of the opposition. The second section deals with the document as a medium of discussion. At the end of this section, the "media-environment," "almost as a magazine on foreign affairs," is broken by shouts from the demonstration at the Bastad which were heard directly in Chilean TV. The third section is about the appeal of MIR as a direct request to the audience: to isolate the junta through a boycott of Chilean products and through demanding from national politicians to break the silence which has long been maintained, among other places in the United Nations of which Chile is still a member. Inspiration for the piece came from the composer's participation in the activities of the …
- Abominable A
- Recording of Luigi Ceccarelli's "Abominable A" for magnetic tape. The piece includes the voices of Kadigia Bove, Francesca Furlanetto, Eugenio Giordani, Luciano Martinis, Michela Mollia, Achille Perilli, Marina Poggi, Enrico Pulsoni, Giovanni Puma, Kerstin Riemer, Claudio Rufa, Stefano Scodanibbio, Gaetano Trusso, and Catherine Verwilgen. The piece contains a recitation of all the words in the Italian vocabulary that begin with the letter A, read in sequence from voices with different stamps, rhythms, and intonations. To these are added other sequences in French, German, and English. The work is divided into fifteen sections, each of which has a different criterion for processing the timbre, rhythm, and space. It was realized at the Electronic Laboratory for Experimental Music at the Conservatory "G. Rossini" in Pesaro from 1978 to 1980.
- Aguiro
- Recording of Stefan Beyst's Aguiro for tape.
- Alba
- Recording of Mauro Cardi's Alba. This is a work for electronics, zarb, and spoken word. The composer references the Persian God, Shams Tabrizi, in their description of the piece.
- Amarcord - Chilhood (l'enfance)
- Recording of Bor Turel's Amarcord - Chilhood (l'enfance). This piece is the third movement of the work "Amarcord" that the composer describes as a trilogy of sonorous memories. This work was conceived as a combination of electronic, electroacoustic, and ambient instrumental recordings that were all produced in the years from 1976 to 1996.
- Angels and devils
- Recording of Natasha Barrett's Angels and devils. This piece is one of two shorter acousmatic works underlying a theatre creation called "Agora". This recording is meant to explore the psychology of good versus evil and includes fragments from an old Norse poem: Volundkvadet.
- En Babel éclatée
- Recording of Michel Karsky's En Babel éclatée. Mourning waltzes around Besieged Babels. The man is in the world. And the creator is not exempted from being in the world with the full enjoyment of his faculties of intelligence and sensitivity of intimate and collective memory, echo of history and art. In addition, when he is a musician, the sense of dance works on his sound material until he imprints an irresistible program on him. How can a frail waltz subject become a song of mercy for a wounded humanity? How can an armful of the languages ​​of the earth bear witness suddenly to the history of human life, to their pains and their songs? How is the sensation amplified in the painful exchange in the attentive listener, open to the message of the things of the spirit, the resonance of being as cradled as a child, subjected to madness, wounded by history? With his personal writing, Michel Karsky once again takes up the challenge. His aesthetics of fragment, collage and superimposition, his subtle technique of intertwining themes and sound material, his lyricism of captured sounds, torn voices and his singular breathing produce here, in about thirty minutes, a block of sounds tenuous or enormous, dense or light whose linked sequences provide a particular shock, inimitable due to this unclassifiable composer: the anguish of the watchman listening to the world.
- Balthasar's Traum
- Recording of Frank Corcoran's "Balthasar's Traum" performed at the Electronic Studio of the Berlin Technical University in close cooperation with Folkmar Hein. The work is based on an idea of a short story by Jorge Luis Borge and the Gospel of St. Mark about Balthasar Espinosa, a man who becomes involved with the Gutres people of Pampa and eventually dies by being hanged on a cross by the same people with whom he was so fascinated. It takes place in the great plains of the Pampa where Baltasar Espinosa is invited to his friend's ranch. To escape the monotony of continuous rain, he begins every night to read aloud to the fascinated Gutres people. They ask for him to reread the Gospel of St. Mark. Mysterious things begin happening during the dark days -- Baltasar cures an animal through 20th century means, something the Gutres have never seen before. The rain eventually stops. That night a virgin Gutre girl visits Baltasar's bed. The next day, he reads the Gospel to the Gutres for the last time. They then ask Baltasar, who is not a believer, if even those who crucified the Savior can receive salvation. They ask for his blessing, then they violently push him into a corner where they beat him and spit on him. Baltasar then sees the cross that has been prepared for him. The work is described not as a program work, but rather a sound correlation of scenes from history.
- Bitter Orchids
- Recording of Steven Naylor's Bitter Orchids. This work was created with the support of the Nova Scotia Arts Council. The sound materials in this piece were recorded in northern Thailand and have been transformed to create a sonic fabric of memory and consciousness.
- Cantata dialetica
- Recording of Joaquin Orellana's Cantata dialetica.
- Cantos Rituales
- Recording of Manuel Rocha Iturbide's Cantos Rituales. The main idea behind this work was to search for different kinds of field sound recordings based in prayers and ritual singing from all around the world. These recordings were then processed through a computer and combined in order to make this composition. The composer describes this piece as a hymn dedicated to all humankind, where they are seeking a spiritual unity common to all, regardless of their culture and beliefs.
- Catchwave 71
- Recording of Takehisa Kosugi's Catchwave 71.
- Chimera in Kosovo
- Recording of Pekka Sirén and Agnieszka Waligórska's Chimera in Kosovo. This work represents the suffering of Kosovo refugees during wartime and utilizes radio mediums to further give the impression of the horrors and fears experienced by the victims. The piece uses radio voices and imaginary female cries as well as looped international newscaster voices.
- Come la voce della coscienza
- Recording of Juan Manuel Marrero's Come la voce della coscienza.
- Comunicacones
- Recording of Miguel Azguime's Comunicacones. The sound materials in this piece come from concrete sounds from a Lisbon port, communication satellites, and texts in more than 30 different languages, as well as synthetic and instrumental sounds. This work was commissioned by the Lisbon World Fair Expo'98 and the concert version premiered at the "Musica em Novembro" festival in Lisbon.
- Diamant
- Recording of John Elmsly's Diamant. This piece was composed in 1977, using a Flemish poem written and read by Chris Dries as text. Using a simple bank of tuned oscillators, a sequencer pattern to modulate an oscillator, and very simple tape manipulations to leave the words as intact as possible the work is intended as a meditative coloring of the poem.
- Doctoral Recital: 2007-11-20 - Jessica McCormack, soprano
- Recital presented at the UNT College of Music Concert Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
- Doctoral Recital: 2009-03-05 - Conroy Cupido, tenor
- Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
- Doctoral Recital: 2009-04-13 - Sang Hee Park, soprano
- Recital presented at the UNT College of Music Concert Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
- Doctoral Recital: 2009-04-19 - Sarah Abigail Griffiths, soprano
- Recital presented at the UNT College of Music Concert Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
- Doctoral Recital: 2010-07-01 - Joseph Rinaldi, baritone
- Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
- Doctoral Recital: 2012-09-18 - Gregory Grabowski, orchestral conducting
- Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
- Doctoral Recital: 2015-10-01 – Joanne Um, soprano
- Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
- Eden
- Recording of Robert Normandeau's Eden. This work is based on the music composed for the play "L'Éden cinéma" by Marguerite Duras. The stage and concert music were composed in parallel as part of the same fiction but corresponding to different purposes. Given Duras' music, which was filled with instruction, the composer of this work responded to this by playing continuous music in the room. In the concert version sound elements are added to represent different facets of Duras' life.
- Ensemble: 1988-11-11 – Men's Chorus
- Ensemble concert performed at the UNT School of Music Concert Hall.
- Ensemble: 1989-04-28 - Men's Chorus
- Choral concert performed at the UNT College of Music Concert Hall.
- Ensemble: 1989-09-22 – Avon Gillespie Memorial Concert
- Ensemble concert performed at the UNT College of Music Concert Hall.
- Ensemble: 1994-03-22 - Celebration of Women in Music
- An Ensemble Concert performed in the UNT College of Music Concert Hall.
- Ensemble: 1995-10-16 – Nova and Canticum Novum
- An ensemble concert performed in the UNT College of Music Recital Hall.
- Ensemble: 1995-10-19 – Canticum novum
- An Ensemble Concert performed in the UNT College of Music Merrill Ellis Intermedia Theater.
- Ensemble: 1996-04-15 - Global Rhythms
- UNT Global Rhythms: Drums Around the World concert presented at the Morton H. Meyerson Symphony Center in Dallas, Texas.
- Ensemble: 1996-11-05 - UNT African Percussion Ensemble
- African Percussion Ensemble concert performed at the UNT College of Music Recital Hall.
- Ensemble: 1997-04-13 – Global Rhythms Around the World
- Ensemble concert performed at the UNT College of Music Concert Hall.
- Ensemble: 1997-04-24 - African Percussion Ensemble
- Ensemble concert performed at the UNT College of Music Concert Hall.
- Ensemble: 1997-12-02 - Men's and Women's Chorus
- Choral concert performed at the UNT College of Music Concert Hall.
- Ensemble: 1998-02-28 - African Percussion Ensemble
- Ensemble performance at the UNT College of Music Concert Hall.
- Ensemble: 1998-03-01 - African Percussion Ensemble
- Ensemble performance at the UNT College of Music Concert Hall.
- Ensemble: 1998-11-05 - Rhythms and Dances of Africa
- Ensemble concert performed at the UNT College of Music Concert Hall.
- Ensemble: 1998-11-16 - Global Rhythms
- Ensemble concert performed at the UNT College of Music Concert Hall.
- Ensemble: 1999-04-05-African Cultural Festival
- An African music festival performed at the UNT College of Music Winspear Hall.
- Ensemble: 2000-04-22 - African Percussion Ensemble
- An African percussion concert performed at the UNT College of Music WInspear Hall.
- Ensemble: 2000-11-08 - African Percussion Ensemble
- Concert presented at the UNT College of Music.
- Ensemble: 2001-04-12 - Music of the Americas: The Zapotlán Project
- Ensemble performance at the UNT College of Music Winspear Hall.
- Ensemble: 2001-04-21 - African Cultural Festival
- Ensemble performance at the UNT College of Music Winspear Hall.
- Ensemble: 2002-11-18 – Men's Chorus and Women's Chorus
- Concert presented at the UNT College of Music Concert Hall.
- Ensemble: 2002-11-19 – African Percussion Ensemble
- Concert presented at the UNT College of Music Concert Hall.
- Ensemble: 2002-11-19 – Concert Choir
- Concert presented at Winspear Hall at the Murchison Performing Arts Center.
- Ensemble: 2002-11-22 – Jazz Singers
- Concert presented at Winspear Hall at the Murchison Performing Arts Center.
- Ensemble: 2003-03-29 – 6th Annual African Cultural Festival
- Concert presented at Winspear Hall at the Murchison Performing Arts Center
- Ensemble: 2003-04-03 – Wind Symphony and Grand Chorus
- Concert presented at Winspear Hall at the Murchison Performing Art Center.