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.
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.
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 Maria Luisa Bon's Shift of Emphasis. The piece was composed at the Computational Sonoma Center of the University of Padua. It is based on 21 complex sound blocks, each having a different structure and origin.
Recording of Roland Cahen's Métabole n° 1. The atmosphere of the piece is that of a place of "dark clouds like the sky of Flanders." It was realized at the IPEM of Ghent in Belgium headed by Lucien Goethals. The piece is one of Cahen's first musical compositions.
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.
Recording of Lelio Camilleri's Overfall. Transformed piano sounds and sound structures realized by means of voltage control make up the sound material of the piece.
Recording of Lelio Camilleri's Tess In Stonehenge. The piece explores the relationship between fast sound structures and sounds with a longer duration and different types of envelopes. The sound equipment consists of filtered white noise bands, frequency modulated bands, and sound structures obtained by the control voltage technique.
"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.
"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 …
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,
Recordings of Marek Choloniewski's "Rag, Rag, Rag" (includes five recordings, the last of which is a reduction). The piece is a transcription of the constructions of instrumental music with added electronic improvisation. Traditions of contemporary music meet those of jazz and rock, giving the piece a three part structure.
Recording of Louis Chretiennot's "Des nombres et des mots." The piece begins with a man reciting numbers 1-10 in French; after the first reading, electronic manipulation is added.
Recording of John Michael Clarke's Soundings. This piece is an exploration of the sound world of the cello from which the title “Soundings.” The title refers to “resonances,” the tape being a reflection of what the cello plays “live.” Indeed, most of the tape sounds come from recorded cello sounds that were later transformed into an electronic music studio. There is also in the middle part, some sounds produced by computer.
Recording of John Michael Clarke's Soundings. This piece is an exploration of the sonic world of the cello hence the title "Soundings". The title relates to "resonances", the tape being a reflection of what the "live" cello is playing. This is because most tape sounds come from recorded cello sounds that were then processed in an electronic music studio. There are also some computer generated sounds in the middle part.
Recording of a Jazz Lecture Series presentation by Clark Terry on February 15, 1983 at 9:30AM at the UNT College of Music. Includes lecture and musical examples by Willis Conover interspersed with questions from the audience.
Recording of a Jazz Lecture Series presentation by Willis Conover on February 15, 1983 at 9:30AM at the UNT College of Music. Includes lecture and musical examples by Willis Conover interspersed with questions from the audience.
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".
Sequence Symbols exemplifies the composer's exploration of the concept of modulation spectra considered as inharmonic "harmonizations" or chords. The gradual transformation of basic note groups related by common tones provides the underlying pitch structure. Each group so derived in turn furnishes the intervals that are treated as generating dyads for the inharmonic chord-spectra. Chord-spectra can be enlarged by the simultaneous sounding of the chord with its transposition at a desired interval. In this way a variety of tension and release patterns are created by associating a specific interval with various kinds of chord spectra. Common frequency components between the chord-spectra provide a basis for hierarchical structuring of the materials generated by each note group and its possible interval transpositions. The general wavelike form of the piece (at times dramatic, ironic or static) corresponds to memoents of prominence by a note group or interval or their transpositions. On another level, the wavelike shape of the piece can be attributed to the interweaving of sections and their interruption of and by each other. The conception of the work varies from symphonic scale to inteimate chamber-music proportions - a formal combination that seems rather well-suited to music conceived in terms of digital sound synthesis and processing. Sequence Symbols was realized during the winter and spring of 1983-84 at the Centro di Sonologia Computazionale, Universita' di Padova, using the composer's expanded version of MUSIC360 (Vercoe) and ICMS (Tisato). added note: the analog tape copies of Sequence Symbols all became unplayable, most of them having been recorded on that infamous Ampex 456 tape that with the passing of time created horrifying problems for the thousands of users that had entrusted their work to that unreliable product. But who knew at the time? Just before the Centro di Calcolo (computer center) of the Universita' di Padova …
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.
The work comes from the analysis of the formal parameters (duration, pitch, accent of the phonems), of the prosody of three poems (canzoni) of 13th Century written by Dante Alighieri, Guido Cavalcanti, Guido Guinizelli on the same subject: the incoming of their loved woman among the men. The relationship between such parameters and the main characteristics of the musical language, which has been already pointed out by many people, has permitted the extraction of the formal model for the composition. We have employed the vocal synthesis model with linear prediction coding implemented on the interactive sound system ICMS, realized by Graziano Tisato, to obtain the formal data and those referred to the phonems of the poems. Such data have been opportunely processed by Pascal and Fortran programs and employed for the synthesis and signal processing by Music V, Music 360 and ICMS programs. The work was commissioned by RAI and realized with the resources of the Centro di Sonologia Computazionale, University of Padova. The natural voice in the piece is Lorenzo Rizzato.
Recording of Roberto Doati, Gianantonio Patella, and Daniele Torresan's "La materia è sorda" performed by Lorenzo Rizzato (speaker) and electronically realized by Granziano Tisato.
Recording of Charles Dodge's "He met her in the park," poetry by Richard Kostelanetz. The poem consists of a boy-meets-girl story that is told eight times, and the retellings abridged versions of the previous ones, sometimes reversing the gender roles until the final retelling is just "He met her in the park." In the composition, the lines are read by a male and female actor alternating lines and each telling of the story is articulated in a different way. The voices are synthesized with melodies, and over the piece, the voices become understood more like music which echoes the original language.
Recording of Iancu Dumitrescu's Motto: Opera Aperta. Ursa Mare is a music intimately linked to Orphic-incantatory thought and practice, conceived in the spirit of ancestral, intuitive, initiatory and magical music. Its aesthetic, as well as that of some other works, is subordinated to an acousmatic (...). By this technique of composition, which is also a mental technique that actually enters the Orphic space of a "substantiality of color," the discovery of a particular kind of sound, the "diagonal sound," arises from the selective and electrical combination of certain natural harmonics, organized in "diagonal multi-sounds." By the "diagonal," a sensitive sound thought, one succeeds in discovering the subtle link between the natural sound (concrete), the classical instrumental sound, the sound of the special instruments and the sound of electronic type. At the same time, this piece operates as a synthesis between the archaic (suggested by the echo of traditional Romanian and foreign instruments) and the modern within the same artistic thought. URSA MARE seems to be something more than a type of spirituality incarnated in a work, namely an approach towards a new musical world, towards a new creative reflection…
Recording of Iancu Dumitrescu Motto : Opera Aperta. Ursa Mare is a music intimately linked to Orphic-incantatory thought and practice, conceived in the spirit of ancestral, intuitive, initiatory and magical music; its aesthetic, like that of some other works, is subordinated to an acousmatic. Through this technique of composition, which is also a mental technique, which effectively penetrates into the orphic space of a "substantiality of color", by discovering the design of a particular species of sounds, "diagonal sounds", which arise from the selective and elastic combination of certain natural harmonics, organized in "diagonal multisons." It is by the "diagonal," by a sensitive sound thought, that we succeeds in discovering the subtle connection between native (concrete) sound, classical instrumental sound, the sound of special instruments and electronic type sound, at the same time as performing a synth between the archaic (suggested by the echo of traditional Romanian and foreign instruments) and modern, within the same artistic thought.
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.
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 a Jazz Lecture Series presentation by Tommy Flanagan on March 22, 1983 at 2:00PM at the UNT College of Music. Includes lecture and performance by Tommy Flanagan, piano.
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 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 Tom Harrell on March 1, 1983 at 2:00PM at the UNT College of Music. Includes lecture and performance by Tom Harrell, trumpet, interspersed with questions from the audience.
Recording of a Jazz Lecture Series presentation by Tom Harrell on March 1, 1983 at 9:30AM at the UNT College of Music. Includes lecture and performance by Tom Harrell, trumpet, 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.
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