Jazz Lecture Series presentation by Nat Adderly on February 28, 1984 at 9:30AM at the UNT College of Music. Includes lecture and performance by Nat Adderley, interspersed with questions from the audience.
Jazz Lecture Series presentation by Nat Adderly on February 28, 1984 at 2:00PM at the UNT College of Music. Includes lecture and performance by Nat Adderley, interspersed with questions from the audience.
Jazz Lecture Series presentation by Jamey Aebersold on April 25, 1989 at 9:30AM at the UNT College of Music. It includes a lecture and performance by Jamey Aebersold, saxophone, interspersed with questions from the audience.
Jazz Lecture Series presentation by Jamey Aebersold on April 25, 1989 at 2:00PM at the UNT College of Music. It includes a lecture and performance by Jamey Aebersold, saxophone, interspersed with questions from the audience.
This work uses, with rudimentary means, the fixed qualities of a piano sound sampled by the lack of an AKAI factory. Despite a rather hollow sound that I sought in this sonata to give a field of expression quite extended to the possibilities of putting in play offered by the computer. The piece is in three movements, essentially based on the deployment of an initial agreement. At any moment, I voluntarily appealed to a rhetorical break of form, an appeal to our routed memory, to become, and yet frozen by the obsessive reiteration of the initial agreement. The second movement brings into play the sound transformations of the chord until its disintegration. The third movement is extremely short, but constitutes the implacable solidification of time. In the form of a magic square.
Recording of Coriún Aharonián's "Esos silencios" ("Those silences"). "Esos silencios" are the silences of our daily vital experience of the seventies in almost all Latin America. "We do not desire them, but they surround us always, until we finally succeed in breaking them," Aharonián wrote. It exclusively uses materials of microphonic origin. Some of the sounds have been made with instruments constructed in Guatemala by Joaqu’n Orellana. The decision to bring to life the piece at that historic moment was convergent with the emotional experience that the pricking edges of the delicate drawings by the Argentinian-Uruguayan Mar’a Carmen Portela and the gagged yell of the dramatic paintings by the Uruguayan Hilda Lopez. In Esos silencios there is a will to establish large, apparently static, areas, with latent tensions, in a structure of full hard edges, almost without the concession of transitions.The piece was originally composed in 1978 and was revised in 1981. It was realized in Elac, the studio of Montevideo. The materials of departure have been produced by the author
Recording of James Aikman's Fantasy. It is a work for violin and tape. This piece is in five short sections ranging from lyric to bold sounds and there are quarter-tone inflections in the tape part. The violin is sampled and digitally edited which is used tp provide the bulk of the tape dialogue. There is also use of synchronous music with the soloist and the tape. The last instrument and technique is composing a unified free interplay where synchronization is not indented.
Tragoidia 1) A dramatic or literary work depicting a protagonist engaged in a morally significal struggle ending in ruin or profound disappointment. 2) 2) Any dramatic, disastrous event. Komoidia : We now and now enter the region of a big guy who eats pies and does not lie in the sun but always tells the truth without shades. With his mephitic breath he sings for night watchmen who intrepidly become character traits as they watch him introduce the players. There are buzzards, there are children, there are musics, always accompanied by their mother who works at the borderline for the mentally accelerated. A magical disarray fills all space with its space, where Haydn melodies metamorphize into exotic modes as Dionysus rejoices in Bacchanalian rumpus. All is well.
- Third movement of the suite "Boustrophedon ä'e'i". Order from the city of Marseille for the Bologna Biennial 88. Intrauterine journey of the modern poet whose heavy and unique obsession is to break the jar of the interior in order to discover the Woman. Sounds then the Sacred Noise, the first awakening of the Tectonic Blacksmith: "What is heavy, is low! What is light is high!", First awakening of the Water-the-unfathomable: "Who can imagine the sea before the first rain? What sound was thunder at this time? "
Recording of Kristi Allik's "What if...". The title refers to the composer's most common thought during the creation of the composition; the work was the result of constant questioning and exploration, mainly in the area of timbral synthesis and sound juxtaposition.
Picture yourself travelling at ease on the train. As you look through the window, you notice the power cables, which run parallel to the tracks. As your eyes follow them, they seem to turn giving the impression of a volume that gently and continuously rotates as it changes shape. This flow seems to accelerate before being momentaneously interrupted by the posts that hold them at more or less regular distances; this is immediately followed by the previous soft change as you recapture the perspective of the hanging cables. Of course, you easily deduct how the illusion works and soon are off onto something else more productive. But imagine you were in a position to determine a few things beforehand, says the distance between posts. Or, if you are of the impulsive "hands on" type, imagine you were able to change the speed of the train instantaneously at your will. You would then be able to effect changes in the evolving pattern of the cables and on the rate of the change itself, thus giving the whole illusion a direction and a life of its own right in front of your eyes. In Acuerdos por Diferencia I have attempted to draw a musical parallel with a similar sort of speculation. So many of the gestures and rhythmic objects in the music commence or finish on a point of accord (Acuerdo), from which their flow continues or emerges. A great deal of variation, differentiation, juxtaposition and superimposition (Diferencia) between computer and harp takes place between those points, their appearances being also subjected to quick "edits" and variations in speed. Thus my title can be freely translated as "accords within difference". I have used mostly harp, lute and vihuela sounds for the computer part, which was realised and recorded at the studios of …
In Asi el Acero, I tried to marry two very different sound worlds: the steel drum, generally associated with Caribbean music, and the world of electroacoustic music, usually associated with technology, computers and synthesizers. In order to find a coherent ensemble for both, I have done important research in the classical repertoire of steel drum, music by nature very "noisy", very rhythmic and very repetitive. From there came to me the idea of using small rhythmic cells to adapt the fixed idioms to the instrument itself, so its role in Asi el Acero is a very precise rhythmic direction. Concerning the sounds on tape, I used them as extensions of the instrument played live -as a giant steel drum band- whose role would be to accompany the instrumentalist and, more importantly, to articulate the rhythmic structure and produce strong accentuations to give impetus- or in terms of Caribbean music- to "kick" the principal instrumentalist. These tape-like (or computer-controlled) sounds are steel drum sounds, sampled and processed just like synthetic sounds. From a rhythmic point of view, the piece explores the use of the legend and the medieval atmosphere. In plain language, this means that the small rhythmic elements are combined with sound elements of different duration, while the fixed elements played by the instrumentalist are always modified or counterbalanced according to the cadence, and are therefore syncopated, juxtaposed or superimposed compared to what happens with the computer part. There are about 120 elements that are in perpetual transformation, giving the piece an air of toccata in contradiction with the music of the Caribbean, but in perfect harmony with my own interpretation on it.
Papalotl (from the Nahuatl word butterfly), started off as a revision of my previous work for piano and tape Luz Caterpillard. As the work evolved, I realised the piece was taking a completely different path from the one originally intended, and the result was an entirely new piece. My Papalotl is a toccata like, a tour de force for both pianist and its counterpart on tape. As in some of my previous works, the concerns are primarilly rhytmic and demand an extreme coordination between the two parts. Specially, Papalotl deals with continous metric modulation throughout its entirety by means of rhytmic patterns that are continously shifted to prevent resolution and thrust the movement in a constant forward direction. The sound sources are mainly "inside piano" sounds which were prerecorded and sampled on the Pairlight CMI. The textures were also acheived by means of similar rhythmic processes applied to the layering and attacks of the source sounds, and resampled as new objects. The piece was first performed by Shelag Sutherland in April 1987.
The Question Mark's Black Ink was inspired, in part, by a poem by S.L. Hough (opposite), from which the title comes. Though not programmatic, the work was influenced by the atmosphere of the poem as well as its implicit psychological dichotomy, of which the contrast of tape and live performers may be taken as representative. There also exists a unity between the tape and the acoustic sounds, however, because the sounds on the tape were all taken from the instruments playing: piano (bowed, plucked, and played on the keyboard), and percussion (tam-tam, vibes, bells, cymbals, gongs, all both struck and bowed). Once sampled into the Synclavier II digital synthesizer, the sounds underwent various significant transformations including filtering, splicing, mixing, and other digital concrete techniques. The Synclavier II used for this realization was purchased on a grant form the University of Southern California Faculty Research and Innovation Fund. This work is dedicated to S.L. Hough and to Vicki Ray (piano) and Mark Nicolay (percussion) who commissioned the piece and first performed it.
Recording of Claudio Ambrosini's Il satellite sereno. This piece revisions how early electronic music utilized certain sounds. The beginning white noise is used as a time marker. Then, it closes with an unexpected minimalistic section. The marimba transforms its timbre to eventually become the white noise heard at the beginning.
When asked to compose a piece for an all-Samuel Beckett concert in Los Angeles (including works by Cage, Dodge and Gnazzo), I determined not to act a text of the renowned existentialist writer but rather to sample his voice and manipulate the recording to formulate the substance of the music. Upon learning that Mr. Beckett does not permit his voice to be taped under any circumstances, I proceeded to record the lobby of his apartment building in Paris, the open-air Metro stop across the street, a sound poets' dinner later the same evening and two young girls watching a mime act at the plaza near the Centre Pompidou. Added to this were the bells of Notre-Dame Cathedral, the crying of a precocious baby, a sound sculpture, some extended-technique electric guitar sounds and a selection of sonic bodily functions. The result is an impressionistic cyclical narrative sound-portrait, touching on various aspects of Samuel Beckett's life. For a full description, please refer to "Pâte de Pas de Voix" in Perspectives of New Music, volume 26/s (Summer 1988). The treatment of ambient sounds was performed in the Synclavier studio of Henry Kaiser in Oakland, California. Most of the sounds originally were recorded by Charles Amirkhanian ; Susan Gilmore Stone, Hörspiel artist and sound recordist, provided recordings of her daughter Anna, approximately eight weeks old. Sound sculpture by Larnie Fox of Salt Lake City was recorded at the Art Barn there. The final eight-track collage and mix was engineered by Robert Shumaker at 1750 Arch Studios in Berkeley. The piece was commissioned by Klaus Schöning of the Westdeutscher Rundfunk, Cologne. It was premiered in concert at Schoenberg Hall on the campus of the University of California, Los Angeles, on 16 October 1987.
Recording of Charles Amirkhanian's Walking Tune (a room-music for Percy Grainger). Inspired by Grainger's Walking Tune for piano solo, Amirkhanian uses a Synclavier digital synthesizer to combine sounds from multiple locations, along with the sounds of a violin and voice. The violin and voice part is performed by Elizabeth Baker of the Los Angeles Philharmonic.
Jazz Lecture Series presentation by Wayne Andre on April 19, 1983 at 9:30AM at the UNT College of Music. Includes lecture and performance by Wayne Andre, trombone, interspersed with questions from the audience.
Jazz Lecture Series presentation by Wayne Andre on April 19, 1983 at 2:00PM at the UNT College of Music. Includes lecture and performance by Wayne Andre, trombone, interspersed with questions from the audience.
Jazz Lecture Series presentation by Jeff Andrews on April 18, 1989 at 9:30AM at the UNT College of Music. It includes a lecture and performance by Jeff Andrews, bass, interspersed with questions from the audience.
Jazz Lecture Series presentation by Jeff Andrews on April 18, 1989 at 2:00PM at the UNT College of Music. It includes a lecture and performance by Jeff Andrews, bass, interspersed with questions from the audience.
Recording of Jon Appleton's Hommage à Milanés. This short work of 5:OO is based on a phrase from a song "si el poeta eres tu ..." composed and sung by the great Cuban artist Pablo Milanés. This sentence appears in the middle of the work. The text is used with different reciters and with the original musical arrangements that convey in a variety of time and places that this song evokes to the composer. This work also suggests various political interpretations, none of which are desired by the composer. This music uses the voice of Marysa Navarro and Perico Irazoqui.
17 articles of the Declaration of the Rights of Man and Citizen extracted from the French Constitution of 1789 are read by a 100-year-old woman who was born in France and grew up on the island of Nuku Hiva in the "Marquesas Islands" . The sound materials of the piece were recorded there in December 1988. The work is dedicated to the village of Anaho.
Twenty years ago, there were various forces in American culture that had political and artistic significance. The unconscious unease of the 1950s continued in force at the same time as the struggle for American civil rights, but attracted the attention of the media. The artistic response of the avant-garde was unaware of all these events and in its own search for freedom created events called “Happening.” This one-night event recalls all cultural conflicting tendencies from the composer's point of view. Included are sentimental journeys in the unconscious past and the consequent glorification of the automobile and its central role in American culture. The automobile represents the vanguard as a delightful machine that goes nowhere.
This work focuses mainly on the study of the various resonance times of percussion instruments, in a continuum idea from the longest resonances to the briefest ones. The rhythm follows a similar curve, starting from non-rhythm to an increasingly fast pace. Everything is built on a single rhythmic cell. The piece is for multiple percussion and tape.
Murmure is an electroacoustic piece for magnetic tape alone. It was created at the request of David Olds as part of the radio show "Transfigured Night". There are many myths that attribute the creation of the universe to a breath or a cry. From primitive African societies to Vedic texts in India, in China or among the Inuit peoples, we find universally a sound at the origin of the different cosmogonies. The astrophysical theories of the twentieth century do not designate the first seconds of the universe by the term "Big Bang". Murmure weaves in a few minutes the long course of the original breath to the human voice. The piece is both part of a musical theater on the dream called Meander.
Recording of Daniel Arfib's L'approche de la lumière ("The Approach of the Light"). The piece functions as much as a sound experiment on the resonance of the vibrations as of sound as a concert piece. For the entire listening experience, pay particular attention to the quality of the silence before and after the performance.
Recording of Daniel Arfib's "L'imminence de la lumière" ("The imminence of light"). It is one of the several pieces of computer music Arfib created as a researcher and composer.
This piece is based on an improvisation from concrete and electronic sounds that are No plan of any kind preceded my different work sessions in the Studio and most forms (sound events) were produced only once on an 8-track recorder tape recorder. Instrumental improvisations made by Luis Boyra (Electric Guitar), Roberto Garcia (band manipulations), and myself (flute) can be heard throughout the room ordered from rather crude raw recordings to elaborate mixes (fragments pieces of tape for myself and the band Sol Sonoro).
Eduard ARTEMIEV: 12 looks on the world of sounds The piece was made in 1970 with the ANS synthesizer from Murzin. The work begins with an introduction made with an instrument of the family of jew's harps, the "Temir-Komonz", Kyrgyz instrument whose sound is produced by the pinching of a small steel blade and whose resonator is the oral cavity . During the performance, there is a permanent drone, the basic sound of the harmonic scale. The melody is modulated by changing the opening of the mouth. In German, it is called "Monltrommel" (drum of mouth). 12 parts: first part: "The acoustic versions", second part: "The spectral line", third part: "The decomposition of the stamp", fourth part: "The harmony of the timbre", fifth part: "Variations of the movements and of rhythm ", sixth part" The inverted harmonic versions ", seventh part:" Horizontal-vertical polyphony ", eighth part:" The variation ", ninth part:" The symbolism ", tenth part:" The mounting of the stamp ", eleventh part: "Free play", part two: "It's the same timbre in a free game of all its harmonic sounds that are reproduced in a free rhythm on an equal dynamic level. To continue these variations could be interesting. The general line of the variations is the passage by zones and blocks towards the separated harmonics, towards their destruction and in the contrasted sense by collecting together the harmonics. The timbre space - this is the space of perspective. From here comes the form of the composition - from unity to the details that make up the structure.
Allegory (11’52”; 1987) is my second composition in the medium of computer music. It was created at the Brooklyn College Center for Computer Music on a Sun 3/160 computer, using the Csound synthesis program and Fromp, a music composition program developed by the composer that generates musical fractal structures. All of the sounds heard in this piece, pitched or otherwise, result from a filtering of white noise. The idea behind Allegory takes its inspiration from the music of the duduk, an ancient Armenian double reed instrument of a particularly haunting and beautiful quality. Often in duduk music, there are two players. One plays the melody while the other, through circular breathing, plays a continuous drone on a single pitch. The melody emerges from this drone, plays beautifully and all-too-briefly, only to return inevitably to the drone. In Allegory there is an ever-present drone composed of thirteen frequencies that are the source material for the entire piece. A fractal texture based on these frequencies emerges from the drone and grows to prominence, only to undergo a transformation: certain elements of the fractal die away while those which remain align themselves and synergize into a new quality, the sensation of a single timbre. This timbre, a gong-like tone comprised of the original thirteen frequencies, then dissolves back into its unchanging source, the drone. The extremes of the initial fractal and the ending timbre – diversity and unity – are the representatives of chaos and order, often a primal duality in my work. The movement toward order and integration is intended to suggest the possibility of such transformation in one’s life. Allegory has been programmed for various concerts, mostly in the United States, and most notably in Binary Convergence (MIT Concert Series, 1988) which featured works by Mario Davidovsky, Jonathan Harvey, and Morton …
Recording of Patrick Ascione's Espaces - Paradoxes. This work is made up of six movements: Couleur Split; póles inverse; Ecran de fossiles; chansons sphérique; tessons bleu; and damse monochrome. The alternation of spatial imagined situations that oppose each other, respond to or overlap each other; in return, giving meaning and life to the sound form themselves. Thus, a specific form of speech is dependent on the simultaneous and successive perception of all these planes, trajectories and centers of transmission of distinct sounds in the air.
For being the round world, who walks away in the East looking for new landscapes, after many trips and adventures he will return to the starting point from the West ... perhaps without wanting to or looking for it. By listening to these 4 instrumental pieces, you will think that they consist of an interpretation made for traditional music instruments. However, for me, the composer is nothing but a new experience in the field of technological music. In this case the experimentation consists of a program that improvises, plays, exchanges in many different ways an initial succession of tones giving rise to very different sound tissues. It is an experiment of the same complexity and quality as others that I have used in the past and that have given me totally different sound results. In this case the experimentation uses shades of defined and adjustable height, creating clear intervalic, acordic, polyphonic organizations, etc. In this domain, a similarity with instrumental music is inevitably obtained. I did not want to avoid this reality using bands of noise or continuous changes of harmonicity, but, on the contrary, I highlight the winter using homogeneous sounds that parody some known acoustic instrument. The four instruments chosen are: Trumpet, Marimba, Voice and Guitar. These instruments are presets of the Yamaha DX7II with all its advantages and disadvantages. I chose a solo arrangement for each extremely sharp instrument in terms of interval discourse and thus obtain a better appreciation of the different games, canons, permutations, dynamic levels, ornamentations, etc., which developed the program. Each in semitones. The scores corresponding to the pieces of Trumpet, Marimba and Guitar are recorded on diskettes, constituting "tapeless music", bone music that can be played directly by operating the computer to the digital synthesizer. The vocal piece has been made in …
This dialog allows you to filter your current search.
Each of the Collections listed note their name and the number of records that will be limited down to if you choose that option.
This dialog allows you to filter your current search.
Each of the Serial/Series Titles listed note their name and the number of records that will be limited down to if you choose that option.
The list can be sorted by name or the count.
This dialog allows you to filter your current search.
Each of the World Regions listed note their name and the number of records that will be limited down to if you choose that option.
This dialog allows you to filter your current search.
Each of the Countries listed note their name and the number of records that will be limited down to if you choose that option.
This dialog allows you to filter your current search.
Each of the U.S. States listed note their name and the number of records that will be limited down to if you choose that option.
This dialog allows you to filter your current search.
Each of the Counties listed note their name and the number of records that will be limited down to if you choose that option.
This dialog allows you to filter your current search.
Each of the Years listed note their name and the number of records that will be limited down to if you choose that option.
The list can be sorted by name or the count.
This dialog allows you to filter your current search.
Each of the Months listed note their name and the number of records that will be limited down to if you choose that option.
The list can be sorted by name or the count.
This dialog allows you to filter your current search.
Each of the Days listed note their name and the number of records that will be limited down to if you choose that option.
The list can be sorted by name or the count.
Having trouble finding an option within the list of Days? Start typing and we'll update the list to show only those items that match your needs.
This dialog allows you to filter your current search.
Each of the Languages listed note their name and the number of records that will be limited down to if you choose that option.
The list can be sorted by name or the count.
Having trouble finding an option within the list of Languages? Start typing and we'll update the list to show only those items that match your needs.
This dialog allows you to filter your current search.
Each of the Rights Access listed note their name and the number of records that will be limited down to if you choose that option.
This dialog allows you to filter your current search.
Each of the Department listed note their name and the number of records that will be limited down to if you choose that option.
This dialog allows you to filter your current search.
Each of the Discipline listed note their name and the number of records that will be limited down to if you choose that option.
The list can be sorted by name or the count.
Having trouble finding an option within the list of Discipline? Start typing and we'll update the list to show only those items that match your needs.
This dialog allows you to filter your current search.
Each of the Degree Level listed note their name and the number of records that will be limited down to if you choose that option.