UNT Music Library - 269 Matching Results

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6 regards sur L.: Recording of Xavier Garcia's 6 regards sur L. This piece uses voice and manipulates the sound to create unsettling and technical passages. There is a wide use of the music technique of spatialisation.
Acéré: Recording of Alain Basso's Acéré. The intention was to create a piece about war. Different object sounds were recorded in the studio, to have a wider palette of percussion sounds. The idea is that these percussions gradually change. As in the repetition of a 'kata', a movement sequence in martial arts, the concentration becomes more intense and the sounds increasingly sharp, by playing on the harmonics they contain. To give a feeling of space to this movement, transformed soundscapes create an atmosphere with a progressive opening and a greater perception of the human presence.
El aliento de la sombra: Recording of Unsuk Chin's El aliento de la sombra.
Alpha Eridani: Recording of O. Powers' Alpha Eridani. This work was composed in the computer music studio of California State University, Northridge, California. Alpha Eridani is tightly structured around a small number of prominent and distinctive sounds events.
Amour énorme: Recording of Robert Grassi's Amour énorme. Grassi was responsible for the samples used in the recording. He used an FM synthesizer, tms sampler, and a SPX-1000 effect processor.
Annazone: "Annazone" (Anna area), analogue concept of proximity with Amazon (Brazil equatorial forest). The singer is of Brazilian origin. During early childhood, the singer was especially impressed by the songs and cries of the birds and insects of the Brazilian forest. This sound world is entangled on several levels (vegetation, smells, noise, light, humidity in constant variation with the hours of the day and the night.) It is astonishing how much the human being is first able listen carefully to the sounds emanating from the vegetation, countless insects and multicolored birds, then imitate them, while adding their own distorting imagination In the forest the signals are slightly redundant to convey intelligibility in this complex environment. The sounds emitted may seem "vocalic" by far (allusions to our vocabulary: Kiveliukiu, Piahiuhuu, Kaijakukike, Jokokoka, Karemu, Hojonga ...), but birds and insects emit all the vocabulary of electronic music, harmonic sound more or less complex, passing through all kinds of impulse sounds until approaching the modulated noises.The volubility is so great that the listener does not succeed. s always really listen to these sound messages and tends to interpret them, especially simplify them. The singer not only imitates the song of birds, but generates, by imagination, the sounds produced by plants, fruits, herbs, butterflies and insects. If the urbanized industrialized nature has lost the sonic relief (from top to bottom and from near and far to a screed of engine noises that closes the horizon), in the forest this sound space is wonderful. In the cultivated and abstract music almost always exists only one sound plane and when the listener crosses this melodic or structural plane, he falls into the noises of the room, or, if he listens to a disc, on the noise. If, in "Annazone", one abandons the foreground of the songs, the …
Antigone: Musique: "Antigone: Musique" was designed to accompany an amateur production of the Cocteau piece. Whose convoluted intervals evoke me the sweet-mean smile of the dark forces that slumber in us. The vocal enchantments the actors themselves, which allows to lengthen the actors during the representation thus creating (at least I hope!) interesting ambiguities...
Antiguas Preguntas: This work is inspired on some pre-Columbian conceptions: man submitted to the forces of a giving universe, yet one that is demanding at the same time. In such a situation, man understands that all security is an illusion, and needs some kind of ritual in order to reconcile the opposites, and to restore the equilibrium of the cosmos. These trusts are not only protected at different levels of the musical structure of the piece, they also orient the criteria employed in the construction of sounds, in an attempt to explore the marginal zones of sound generation with digital media.
…Anywhere far: Recording of Jürgen Bräuninger and Ulrich Süsse's ...Anywhere far.
Atlantis: "Atlantis", as a piece of a triptych, is perhaps an offering to lost civilizations and their cultures.
Bandas de pueblo: Recording of Manuel Rocha Iturbide's Bandas de pueblo. The intention of this piece is to generate musical abstract ideas. The sounds hear come from music from Mexican village bands, electronic sounds, brass instruments (two saxophones, one French horn, one Tuba, and one trumpet), rattle drum, bass drum, and cymbals). Space positioning of the instruments is also an important feature of the piece.
Barbe à papa (Arum manis): Recording of Jack Body's Barbe à Papa (Arum Manis). The original recording forms the basis of the tape and is the sound of a two stringed fiddle played by an Indonesian seller, recorded by the composer in 1977. Carrying the already made candy floss in a bin from his shoulder the seller played the fiddle to advertise presence. The music was both improvisation and sometimes recognizable tunes, and consisted of a melody.
Biotop I: Recording of Gunner Moller Pedersen's Biotop I. The composer based this work on the idea of environmental health, specifically that of frog habitats. The composer uses the sounds of a pond biome to remind the listener of the importance of protecting nature from man made changes.
Birds of the Cathedral: We invest the birds of human qualities to create imaginary connections between them and the men. This is what the old storytellers did too, but at bottom the parable spoke of the relationship between man and man. Finally - through music - this piece also speaks about them and us. His composer has tried to pay attention to what the birds themselves know and can do for themselves: the melody, the rhythm, and the possible meanings of their intonation, which have been familiar to us for so long. This is not just the usual information of a coexistence of a million years. Precisely, what we pay attention to - here and now - is not something that is outside the limited world of man. Maybe it's something that exists in humans. This is in the depth of the unconscious, on which our existence of man is constructed. Whence these particular relations, these strange rhymes between the voice of man and that of the bird come from? The birds live around the cathedral already for a very long time. They were fluttering around her already when the towers rising to the heavens were still surrounded by a forest of scaffolds, and they enveloped men and stones in carpets of sounds intertwined with each other. The construction of the composition is based on a line with double variation. On the one hand, it comes from the world of human sounds, whose main theme could be even a Gregorian melody, and on the other side, the world of the sounds of birds. These two basic layers can be heard sometimes separately, reinforcing each other, one rhyming on the other, sometimes contrasting, emphasizing the correlation even in the latter case. So the game is played according to "decent" rules. The work uses as raw …
The blazing macaw: Recording of Charles Norman Mason's The blazing macaw. This work is for piano and tape. The painting "Self Portrait With Bonitio" by Frida Kahlo inspired this work. The parrot on her shoulder helped guide the communication between the piano and tape. The term "blazing" refers to two things: the bright colors of the parrot, as well as the painting itself, which musically is produced by the harmonic, rhythmic and timbral choice.
Bolero in 10 / 8: Recording of Anatoly Kisselev's Bolero in 10 / 8. This piece was created with electronic musical instruments and computer technique. There is a strict repetitive form and explores the struggle of two non-contrasting subjects.
Bosco : jardín al compás del deseo: “Bosco : jardín al compás del deseo” is based on Hyeronimus Bosch’s triptych and especially, the painting on the right, “Musicians’ Hell”. Instead of translating visual images into music, there has been a representation from the unconscious of some relevant aspects like human nature metaphors and the metamorphosis of the objects, the presence of unnoble metal waiting for the alchemic mutation, the oneiric, the fantastic. The characters dance at the hands of Bosco, a huge mask-ball in honor of the goddess Dinamo.
Brasse coulée: Recording of Philippe Blanchard's Brasse Coulée. This is a piece for electronics written using traditional electro-acoustic techniques and sound samples.
[Brave Combo poster]: Poster advertising a concert by Brave Combo on Tuesday, March 5 and Wednesday, March 6 at Shibuya Club Quattro. Poster features a photograph of four band members holding a string of plastic owl shaped lanterns. The photograph lays on a red background and is overlaid with text in English and Japanese giving performance details.
Carmen campanarum: Recording of Radek Rejsek's Carmen campanarum. This work is an electroacoustic fantasy created from the sound of bells and vocals to the words "Deo gratias". The composer also used sounds of clockwork to symbolize the flowing of time while the bells act as a hymn to God as thanks for our existence. This work was produced in Audiostudiu Czech Ragio in Prague.
Celula: Recording of Rudolf Ruzicka's Celula. The composition was formed on the basis of an artistic musical statement of the production of cellular automata, of which the graphic form of identical triangular elements emanating from the Sierpinski continuum. The musical realization acoustically simulates a rise of cells in the cellular automata, to which it employs electroacoustic sounds with equable distribution of the tone frequency which do not appear in the halftone tempered system.
Chants Sphériques: Recording of Patrick Ascione's Chants Sphériques. This work exploits the mobility and successive metamorphoses of characteristic spatial figures. The sounds move according to various configurations specific to their meaning, but also inside these "frames of spaces" already in motion, or sometimes even outside these frames. Sound is therefore here to space, what color is to form for the painter. Original version is for 16 speakers.
College of Music program book 1990-1991 Vol. 1: Fall/Spring performances program book from the 1990-1991 school year at the University of North Texas College of Music.
College of Music program book 1990-1991 Vol. 2: Fall/Spring performances program book from the 1990-1991 school year at the University of North Texas College of Music.
Concerto for clarinet and clarinets: Recording of JoAnn Kuchera-Morin's Concerto for clarinets and clarinets. This work is a single movement work for clarinet and computer-generated tape and exhibits a traditional concerto structure with the computer resembling the orchestra. The computer generated portion is made up of instruments designed from sampled clarinets tones which are cross-synthesized with string like instruments. The hybrid instruments include extended clarinets technique and legato clarinet ones.
Concerto in D: Recording of Daniel Oppenheim's Concerto in D. This work is for a concerto for violin and electronics.
A Consistencia da prata/estudo: Recording of Rodrigo Cicchelli Velloso's A Consistencia da prata/estudo. This piece use traditional electro-acoustic techniques to create such dynamic effects.
Le Contre-Ciel: Dedicated to René Daumal Electroacoustic piece in three movements of non-Euclidean inspiration from the poetic work of René Daumal, "Le Contre-Ciel" (Ed. Gallimard)
Courant statique: Recording of Nicolas Verin Courant statique. The time of the work is devoted to an exploration of several paths linking two extremes of sound matter: balance, held almost immobile; and movement of volatile particles. Several other masses are added, creating a heaviness, an expectation, gradually generating tension, until the breaking point where they explode in a flash, in a shower of sparks, which will soon be extinguished. This piece was created using electronic technique.
Los dados eternos: Recording of Rajmil Fischman's Los dados eternos. This is a piece for oboe, tape and real-time processing. The instrumental part includes a range of extended techniques such as multiphonics, sucking the reed, singing and playing, etc. In addition, sounds coming out from the oboe are processed during performance by two effects units, serving as a further extension of the capabilities of the instrument. This processing also creates a middle ground in which concrete sounds contained in the tape meet the sonic world produced by the live performer. The tape serves several functions. In the first place it acts as an environment which transports the setting of the performance into diverse landscapes and situations. Secondly, it also fulfils an ‘orchestral’ function, complementing the solo performer either in an harmonic-timbral manner, or rhythmically by means of gestural counterpoint. Finally, it also contributes to the middle ground by using oboe sounds, which blend with the rest of the landscape or transform into other sounds. The performer is sometimes required to mimic some of these sampled oboe sounds in order to give the impression that they are coming out of the actual instrument. On other occasions, sounds produced by the performer are overlapped by the tape, which transforms them in a manner which would be impossible for a real oboe. The tape was realised at Keele University studios. Although this is not a programmatic piece, it was inspired by a poem of the same name by the Peruvian poet César Vallejo (1892-1938), which deals with the struggle between divinity and humanity, its results and implications. Los Dados Eternos is strongly influenced by Latin American culture, both, in its reference to music and language and in the unconscious manifestations of rhythm and dance within more abstract electroacoustic material. Performances include the 1991 International Computer Music …
Days of dreams: yester yesr faded: Recording of Adrian Carr's, Days of Dreams: yester yesr faded. This piece uses sampled instrumental sounds and the piano part is performed live using digital effects of delay and reverb.
Dithirambe: Recording of Masahiro Miwa's Dithirambe. This work is for voice and electronics. This work explores just how much the composer could use electronic processing to alter the sound of the voice. The piece introduces the unprocessed voice and slowly begins to add different effects including: pitch alteration, reverberation, speed, and sound placement.
Divertimento for Dalle: My work is dedicated to the memory of Uncle Dalle, who died last year. Uncle Dalle, whose real name was Carl Gustav Wahlqvist, was my father's best friend, already from his earliest childhood. Uncle Dalle was born in Stockholm in the house next to ours where my father and I both were born. Then a day came when he also became one of my dear friends, especially after the death of my father. Uncle Dalle was a wonderful and cheerful person, he was extremely gifted in society and was always passionate about communication and discussion about everything and anything with anyone around him - from the diet method to food alive from Ann Wigmore until the last financial scandal. Under this pleasant surface hid a volcano which sometimes erupted. The person who happened to be the target of such an explosion was really in the heat of the moment. Uncle Dalle also wrote little songs, mostly about his friends in the Stockholm archipelago where he spent a lot of time. In some cases, I helped him with music notation because he couldn't read music himself. The compositional work began in a mode of great despair, where the futility of existence completely penetrated every aspect of my life and my daily actions. However, during the realization, the "dark tone" gradually developed into a lighter tone and fortunately, the final result made the light atmosphere that we usually associate with a divertimento. The work is created in a way that would be better described as kinematic. Some "takes" or acoustic scenes were produced independently of the others and without a pre-established plan. A selection of these "takes" were put together in an overall form of four movements. The composition was commissioned by Svenska Rikskonserter and is completely produced in the Semicolon Studio …
Do it again: Recording of Thomas Bjelkeborn's, Do it again. The compositional work uses breaking dried out tree branches, which are heavily processed with electronic techniques. This sound file has been transformed over and over and with sound mutation and has been split in various sounding directions. This piece uses transformations which are similar to partly human gestures controlling the changes. The resulting sound files were cut, spliced and mixed in a canonic form where the original sound file length has been kept as far as musically feasible.
Doctoral Lecture Recital: 1991-04-15 – James Hobbs, oboe: Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Doctoral Lecture Recital: 1991-04-22 – William Schmid, trumpet: Recital presented at the UNT College of Music Concert Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Doctoral Lecture Recital: 1991-06-03 – Grace Fan Long, piano: Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Doctoral Lecture Recital: 1991-06-24 – Matthew J. George, conductor: Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Doctoral Lecture Recital: 1991-10-07 – Marion Trout, trumpet: Recital presented at the UNT College of Music Concert Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Doctoral Lecture Recital: 1991-10-21 – George Rosenbaum, viola: Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Doctoral Lecture Recital: 1991-11-25 – Dennette Derby McDermott, flute: Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Doctoral Recital: 1991-02-04 – Dennette Derby McDermott, flute: Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Doctoral Recital: 1991-04-01 – Kathryn Fouse, piano: Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Doctoral Recital: 1991-04-08 – Colleen R. Bolthouse, soprano and Sarah D. Click, piano: Recital presented at the UNT College of Music Concert Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree
Doctoral Recital: 1991-04-15 – Susan Masters Wyatt, soprano: Recital presented at the UNT College of Music Concert Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Doctoral Recital: 1991-04-22 – Grace Campbell, piano: Recital presented at the UNT College of Music Concert Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Doctoral Recital: 1991-04-24 – George Rosenbaum, viola: Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Doctoral Recital: 1991-06-24 – Kim Stirzaker, flute: Recital presented at the UNT College of Music Concert Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Doctoral Recital: 1991-07-01 – Paul David Haskins, Baritone: Recital presented at the UNT College of Music Concert Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Doctoral Recital: 1991-11-11 – Dwight Manning, oboe: Recital presented at the UNT College of Music Concert Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

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