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For Jon - Fragments of a time to come
Recording of Lars Gunnar Bodin's For Jon - Fragments of a time to come. The work is a dramatic cantata, with vocal sections for both chorus and soloists alternating with recitatives and instrumental interludes. It is based on a series of texts characterized by a kind of "surrealistic science fiction" testimony and reports about experience in other worlds, real or imaginary. The texts are never sung but are often melodically "coloured", "composed" with the aid of electronic means. The composition also includes a mixed chamber chorus of twelve singers and a soprano soloist.
Penetrations VII
Recording of Alcides Lanza's Penetrations VII. Penetrations VII (1972-III), the chamber version of Penetrations VI, moves from the individual's memories to a concern for mankind's global memories. This piece also deals with communication...or the lack of it. The performer is at the same time a child and a woman experiencing all the memories of humanity. The accumulated hatred and evil of our human history becomes too much to remember, causing a collapse. However, the piece ends in a rebirth of hope such as children perennially inspire in us all - and a reminder to "listen". The work uses the voices of Meg Sheppard, Alejandro Puente and Alcides Lanza. Some sounds were created using modules created by Hugh Le Caine. Composed at the composer's studio SHELAN, in Montreal, and finalized at the EMS, McGill University.
Ekphonesis V
Recording of Alcides Lanza's Ekphonesis V. For actress-singer, lights, and electronic music. This work is rooted in the composer's continuing interest with "memories". This piece explores the "library" of memories, reflections, thoughts, and ideas, supposedly encountered if the soloist could enter the composer's brain. During this "tour of the brain," the "tourist" is confronted with the recollections of the composer, plus her own memories.
Dedicate to you II
Recording of Lars Gunnar Bodin's Dedicate to you II. A text is fragmented by the equipment of the electronic music studio and then processed to form a model of semi-subconscious communication. The voice fragments are then processed and manipulated with electronics to create the granular synthesis like sound.
Dance figure
Recording of Sten Hanson's Dance figure. This work is for voice and electronics. The voice is put they a delay processor to continuously loop the phrase, accompanied by the electronics which allow for the repetition to evolve.
William Edward Berge
Article updating the entry on William Edward Berge in the 1977 Complete Catalog of Ampico Reproducing Piano Rolls.
Portrait
Recording of Andrew Bentley's Portrait. This work composed for 3 groups of singers and tape, explores a range of vocal sounds stretching back from the musically familiar and traditional type of vocal production, know as "singing", through voiced and unvoiced sound production towards an abstract sound palette made possible by interactive combinations of electronic and vocal sounds heard from the tape. Because of the new significance which words take on when set to music in a traditional way. The composer took the alternative approach of re-composing the text (a poem by Gertrude Stein) as part of the musical events, fragmenting word and sound play but leaving the more declamatory phrases in tact.
Songes
Recording of Jean-Claude Risset's Songes. Songes was produced at IRCAM with a variation of the MUSIC V program. The original program, designed by Max Mathews was extended by John Gardner and Jean-Louis Richer so that it can process digitized sounds as well as synthesize sounds. The piece uses some sound materials from Mirages, a piece for 16 instruments and tape commissioned by the Donnaueschingen Festival (1978). The title suggests the dreamlike nature of adventures set on another scene: adventures from an absent, imaginary world. The identity of sound beings that sometimes escape material constraints dissolves in the continuity of textures, in the flow of deformations, displacements, liquefactions. At the beginning of the piece, the computer was used to assemble, superimpose, tile five motifs - these motifs, each lasting 2 to 5 seconds, were recorded separately by 10 instrumentalists of the Ensemble InterContemporain. In addition to the superimpositions, the instrumental sounds have undergone modifications governing in particular spatial effects. The harmonic structures of these patterns, repeated in a quasi-obsessive way, are repeated in a high harmonic fabric, then in inharmonic synthetic sounds. The components of these sounds can, depending on their temporal profile, merge into simulacra bells or dissociate into fluid textures. Inharmonic sounds merge into each other then accumulate in nested chords, which reproduce between them the frequency relations existing between their components. While the beginning of the piece was confined to the medium register, this accumulation gives rise to a crescendo filling the entire space with frequencies from low to high. The long coda keeps only the low and high frequencies. Calm returns with a long pedal of bass sounds, evoking dominant-tonic relationships, with internal animation due to variable time delays (like echoes reverberating on a moving wall). Above the bass, treble sounds widely modulated in frequency travel, following …
L' Épée d'un Archange
Recording of Andrzey Biezan's L' Épée d'un Archange.
A Grandmother's Song
Recording of Brenda Hutchinson's A Grandmother's Song for tape, in 5 parts: I. The Reunion II. The Peach III. Father IV. I Forgot V. Brother Day. This work was created at the Center for Music Experiment at the University of California in San Diego.
Sweet Jesus and the Honkies
Recording of Reynold Weidenaar's Sweet Jesus and the Honkies. Sounds were processed by multiple delay, equalization, echo chamber, overload distortion, phasing, expansion, flanging, cross-channel penning, tape scrape flutter, editing, variable speed, multiple generation, feedback, and tape delay echo. The recording machines used included one 4-track tape recorder and three 2-track tape recorders.
Aubade
Recording of Sandra Tjepkema's Aubade.
Whisper Study for Two Electroacoustic Sound Tracks
Recording of Hildegard Westerkamp's Whisper Study for Two Electroacoustic Soundtracks. Whisper Study is based on the sentence "When there is no sound, hearing is most alert" (a quote from the Indian mystic Kirphal Singh in Naam or Word). Except for the distant horns, all sounds were derived from the composer's voice, whispering the above sentence and the word "silence". Whisper Study started out as an exercise in exploring basic tape techniques in the analog studio of the 70s and using the whispered voice as sound material. Eventually, it became a piece about silence, aural perception and acoustic imagination. Whisper Study explores the place or moment where sound ends and its image begins. The poem "When There is No Sound" by Norbert Ruebsaat was written in direct response to the original version of Whisper Study. The poem in this version is spoken by the composer inside a soundscape of icicles and footsteps in snow, which originally was created for her radio series Soundwalking on Vancouver Co-operative Radio in 1978/79. Eventually this section was mixed with the last part of the original version of Whisper Study.
Red Bird
Recording of Trevor Wishart's Red Bird. The resources available for its realization were-6 semi-professional TR (all stereo) (Revox A77s), a portable Nagra stereo TR, microphone recording equipment (but NO soundproofed recording facilities), and a 12-in, 4-out mixer. The only filters available during most of the period of composition were the EQ controls on the mixer. Specific source-sounds are chosen to solve specific problems in the realization in sound of the preconceived form scheme. In generating source-material, composed music and specially-constructed improvisation procedures are used, among other things. A special feature of the piece is the transformation of one sound into another (e.g. "Lis" to birdsong). The aesthetic of the composition demands that such transformations appear "natural" i.e. that they appear to be no more than recordings of strange real-world events. This places severe restrictions on the techniques, which may be used to archive such transformations. Most are done using a combination of performance and classical tape-techniques.
Speech Song
Recording of Charles Dodge's Speech Song. The first movement, A man sitting in the cafeteria; second movement, The days are ahead; third movement, When I am with you; Fourth movement, He destroyed her image. Speech Songs was created at the Bell Laboratories in 1972 by composer Charles Dodge using a speech synthesis system of Joseph Olive. The four short Poems are by the distinguished American poet, Mark Strand. The songs, especially as articulated by the computer-synthesized voice, are ironic, surrealistic and humorous. One may trace the improvements in the quality of the computer-synthesized voice in the course of the four songs.
Journey into Space
Recording of Trevor Wishart's Journey into Space. Miscellaneous sound-sources were collected form metal work-shops, toy-shops, builders' yard etc. some of the material for the original source-tapes was group-improvisation on these collected objects, and/or instruments and voices, some very free, others less so, and yet other sections strictly notated. other sound--sources were recorded individually and mixed or edited later in the studio. all these sounds were sorted, selected, pre-edited, and some treated, from this point the process of tape-composition proper could begin, the work involved was editing, mixing, re-editing, re-mixing, and treatments (speed-change, filtering, etc).
Pop Chronicles Interviews #130 - Milton Berle
Recording of John Gilliland interviewing Milton Berle for the Pop Chronicles radio program series.
Pop Chronicles Interviews #135 - Perry Como
Recording of John Gilliland interviewing Perry Como for the Pop Chronicles radio program series. This recording includes discussion of sexual harassment.
Pop Chronicles Interviews #158 - Edgar Bergen
Recording of John Gilliland interviewing Edgar Bergen for the Pop Chronicles radio program series. The interview begins in track 3 following unrelated material, and continues through track 6, followed by an apparent live performance by the Mills Brothers. This recording contains slurs or stereotyping directed at race, socioeconomic background, sexual orientation, or religion.
Pop Chronicles Interviews #2 - Patty Andrews, part 2
Recording of John Gilliland interviewing Patty Andrews of the Andrews Sisters for the Pop Chronicles radio program series. The interview occurred either March 13 or September 13, 1971. A rehearsal is audible in the background. This segment is part 2 of 2.
Pop Chronicles Interviews #13 - James Brown
Recording of John Gilliland interviewing James Brown in Hollywood for the Pop Chronicles radio program series. The last track is from a different recording, with pre-recorded interview questions for Billy Vaughn.
Pop Chronicles Interviews #136 - Himan Brown, Part 2
Part 2 of a recording of John Gilliland interviewing radio and television producer Himan Brown.
Pop Chronicles Interviews #156 - Jimmy Van Heusen, part 1
Recording of John Gilliland interviewing composer Jimmy Van Heusen for the Pop Chronicles radio program series. This is the first of three segments. Van Heusen's wife is present for this recording, and speaks in track 5.
Pop Chronicles Interviews #157 - Harry Mills
Recording of John Gilliland interviewing Harry Mills of the Mills Brothers for the Pop Chronicles radio program series. This recording includes unrelated audio from other broadcasts after the interview with Mills.
Pop Chronicles Interviews #140 - Helen Forrest
Recording of John Gilliland interviewing Helen Forrest for the Pop Chronicles radio program series.
Pop Chronicles Interviews #160 - George T. Simon
Recording of John Gilliland interviewing author and critic George T. Simon for the Pop Chronicles radio program series.
Pop Chronicles Interviews #156 - Jimmy Van Heusen, part 2
Recording of John Gilliland interviewing composer Jimmy Van Heusen for the Pop Chronicles radio program series. This is the second of three segments.
Pop Chronicles Interviews #51 - Bill Haley
Recording of John Gilliland interviewing Bill Haley for the Pop Chronicles radio program series.
Pop Chronicles Interviews #156 - Jimmy Van Heusen, part 3
Recording of John Gilliland interviewing composer Jimmy Van Heusen for the Pop Chronicles radio program series. This is the third of three segments.
Pop Chronicles Interviews #7b - Gene Autry
Recording of John Gilliland interviewing Gene Autry for the Pop Chronicles radio program series.
Pop Chronicles Interviews #136 - Himan Brown, Part 1
Part 1 of a recording of John Gilliland interviewing radio and television producer Himan Brown.
Pop Chronicles Interviews #1 - Patty Andrews, part 1
Recording of John Gilliland interviewing Patty Andrews of the Andrews Sisters for the Pop Chronicles radio program series. The interview occurred either March 13 or September 13, 1971. A rehearsal is audible in the background. This segment is part 1 of 2.
Pop Chronicles Interviews #142 - Allan Jones
Recording of John Gilliland interviewing actor Allan Jones for the Pop Chronicles radio program series.
Pop Chronicles Interviews #133 - Bing Crosby
Recording of John Gilliland interviewing Bing Crosby in Hollywood for the Pop Chronicles radio program series.
Pop Chronicles 1940s Program #9
The ninth program in John Gilliland’s 24-program series on popular music and culture in the 1940s, produced following the success of his extensive Pop Chronicles series on the 1950s and 1960s. This program highlights the year 1943, with discussion of wartime movies.
Pop Chronicles 1940s Program #8
The eighth program in John Gilliland’s 24-program series on popular music and culture in the 1940s, produced following the success of his extensive Pop Chronicles series on the 1950s and 1960s. This program highlights the years 1942 and 1943, with discussion of Frank Sinatra, and the Rodgers and Hammerstein musical Oklahoma.
Pop Chronicles 1940s Program #1
The first program in John Gilliland’s 24-program series on popular music and culture in the 1940s, produced following the success of his extensive Pop Chronicles series on the 1950s and 1960s. This program introduces the first half of the 1940s, with discussion of wartime culture, celebrity participation in the war effort, and the Golden Age of Radio.
Pop Chronicles 1940s Program #2
The second program in John Gilliland’s 24-program series on popular music and culture in the 1940s, produced following the success of his extensive Pop Chronicles series on the 1950s and 1960s. This program highlights the year 1940, with discussion of the "sweet" bands and the influence of Bing Crosby.
Pop Chronicles 1940s Program #7
The seventh program in John Gilliland’s 24-program series on popular music and culture in the 1940s, produced following the success of his extensive Pop Chronicles series on the 1950s and 1960s. This program continues the previous program's emphasis on the year 1942, with discussion of the songs of Johnny Mercer, Capitol Records, and mass migration connected to the war effort.
Pop Chronicles 1940s Program #10
The tenth program in John Gilliland’s 24-program series on popular music and culture in the 1940s, produced following the success of his extensive Pop Chronicles series on the 1950s and 1960s. This program highlights the year 1944, with continued discussion of wartime culture.
Pop Chronicles 1940s Program #3
The third program in John Gilliland’s 24-program series on popular music and culture in the 1940s, produced following the success of his extensive Pop Chronicles series on the 1950s and 1960s. This program continues to highlight songs from 1940 (and slightly before and after), with discussion of vocalists, and the impending war.
Pop Chronicles 1940s Program #4
The fourth program in John Gilliland’s 24-program series on popular music and culture in the 1940s, produced following the success of his extensive Pop Chronicles series on the 1950s and 1960s. This program highlights the year 1941, with discussion of the ASCAP boycott and BMI, and the Second World War.
Pop Chronicles 1940s Program #11
The eleventh program in John Gilliland’s 24-program series on popular music and culture in the 1940s, produced following the success of his extensive Pop Chronicles series on the 1950s and 1960s. This program highlights the time frame around 1944, with discussion of Hollywood's output during the war.
Pop Chronicles 1940s Program #12
The twelfth program in John Gilliland’s 24-program series on popular music and culture in the 1940s, produced following the success of his extensive Pop Chronicles series on the 1950s and 1960s. This program is the finale of Part I of the series, which covered 1940 through 1945, and was originally broadcast in October and November of 1972. It highlights the end of the Second World War, with discussion of armed forces' return home, and "dream" songs.
Pop Chronicles 1940s Program #6
The sixth program in John Gilliland’s 24-program series on popular music and culture in the 1940s, produced following the success of his extensive Pop Chronicles series on the 1950s and 1960s. This program highlights the year 1942, with discussion of wartime music and culture, and cultural reflections of domestic mobilization in the U.S.
Pop Chronicles 1940s Program #5
The fifth program in John Gilliland’s 24-program series on popular music and culture in the 1940s, produced following the success of his extensive Pop Chronicles series on the 1950s and 1960s. This program continues the previous program's emphasis on 1941, with discussion of the music of Freddy Martin, as well as of "sweet" bands and gimmick (or "Mickey Mouse") bands, and wartime novelty songs.
Brad Stroud, cassette sent to Leon Breeden
Audio recording sent by pianist and trombonist Brad Stroud to Leon Breeden following a visit to North Texas. The recording includes spoken segments from Stroud, as well as recordings of his performances, including Stroud's composition ("Listen to My Father") introduced by Kenton and played by Kenton's band, and a performance from one of Kenton's band clinics. The reference to Steve Wilkerson winning on the Gong Show dates the recording to around 1979.
[Computers and Indian Music]
Typed text of a talk given by Padma Rangachari on computer applications in Indian music. Handwritten editing notes throughout.
[Generating Instrumental Music by the Computer]
Journal article discussing computer generated music jointly prepared by M.G. Bidnurkar and Padma Rangachari.
[Letter from Dr. P.V.S. Rao to The Chairman of University Grants Commission]
Letter from Dr. P.V.S. Rao to The Chairman of University Grants Commission providing a recommendation for Padma Rangachari to receive a Senior Fellowship to pursue a Ph.D.
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