UNT Music Library - 71 Matching Results

Search Results

Der Frieden: Recording of Hans Ulrich Humpert's Der Frieden.
Hommage aux grands faux penseurs: Recording of Sven-Erik Bäck's Hommage aux grands faux penseurs.
Chanson: Recording of Dieter Kaufmann's Chanson.
Andere die Welt, sie braucht es: Recording of Wilhelm Zobl's Andere die Welt, sie braucht es.
3 elektronische Studien: Recording of Lothar Voigtländer's 3 elektronische Studien. The basis for the composition are the poems of the poet Erich Arendt. The poems were written around 1925 in his Expressionist creative period. Accordingly, the compositional means: concrete musical material is mixed with electronic sounds to achieve a strongly expressive and suggestive associative effect. It is less thought of as a "setting" of the texts, but should be added to the often strongly symbolic language formulations as a different, musical dimension. The vocals and the piano usually work live. The piano is mostly treated as unrecognizable - this is to achieve a seamless insertion into the electro-acoustic sound material. In a performance, both piano and singer can be electro-acoustically amplified and to a lesser extent technically manipulated (reverberation, iteration, etc).
Sicher sein...: Recording of Max E. Keller's Sicher sein... This piece confronts newspaper articles on the subject of redundancies, read by the orator, with the advertising slogan "Sicher sein, Bankverein."
Grundgesetze III: Recording of Max E. Keller's Grundgesetze III. "Grundgesetze III" is the third part of a six-part work begun in 1975. Sections I and IV were realized as orchestral pieces. Lyrically, the work is based on the confrontation of ideology (for example, the constitution, that is, the "Basic Law" of the FRG [Federal Republic of Germany]) and the reality of bourgeois society. In "Grundgesetze III" the federal government processes a text about the so-called social market economy, while two other speakers present some information and a realistic dialogue. If the social market economy promises people paradise on earth, then the setting adjoins the dull reality: the colorful life has given way to a mechanical, absolutely regular beat, which was realized electronically, which thus lacks any inner life. This hammering also reflects what characterizes pop music and gives it an intoxicating effect, but occurs here naked and without drapery, no longer narcotic, but irritating. Like the rhythmic parameter, the pitch parameter also adjusts, with 19 different pitches distributed over the listening area at absolute regular intervals forming the basic chordalization of the chords. In other words, it is a 19-note chord built on a regular basis from which one single note is selected. It was composed primarily with parameters of color, density, change, dynamics and envelope for each single tone of the chord that are often neglected in European music. The piece works with two tempo signs, which correspond to the two channels. The first lasts until the middle; change, density, ambitus and others take part straightforward, toils woolly, until the structure turns into uncharacteristic gray. On the other hand, the second, slower tempo layer evolves, from complex to simple. Towards the end, even the rigid hammering on the move smiles: the tempo fluctuates a bit, the pitches slide to a new …
Unter dem Pflasterstein liegt der Strand: Recording of Martin Schwarzenlander's Unter dem Pflasterstein liegt der Strand. The music is interspersed with text about demonstrations in East Germany during the 1970s.
Variation und collage: Recording of Lothar Voigtländer's "Variation und collage" for voice and tape. The text is from a poem by F. G. Lorca. The human voice serves at primary sound material (murmurs, screams, editing, deformations). There are few synthetic sounds that were created through the use of the ARP synthesizer.
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.
Panta rhei: Recording of Jürgen Bräuninger's Panta Rhei. This piece is connected for one female dancer who is connected to a synthesizer via a cable ("Umbilical cord"). "Panta Rhei" ("everything flows") refers to the Greek myth of the Three Fates (Clotho, Lachesis and Atropos). The cable represents the string of life which the performer can not escape. This dependency forces her to react to the sound events with reach her through the cable.
Hymnen: Recording of Max E. Keller's Hymnen ("Hymns"). This is the Radio Version of the piece which was broadcasted in 1979. This piece confronts the authentic account of a Chilean's experience of torture by the Chilean fascists by means of a collage of national anthems. Hymns and anthems from countries that directly supported the fascist coup (or indirectly benefited from it) are used as base material. At first, only fragments of hymns are presented, then they are processed as a whole, and finally they are put together into a new anthem. This demonstrates their interchangeability in their music and lyrics (therefore, they are used without text). The idealistic glorifications tilt in the face of reality in stark mockery. This is further articulated by the fact that between the individual texts of the collage, the Chilean hymn sings and unprocessed re-sounds. The chivalric song of the French Revolution is the cipher and historical source of all the promises of freedom, equality and fraternity that the hymns give, but history has not fulfilled to this day.
Moulin diabolique: Recording of Eugeniusz Rudnik's Moulin Diabolique" ("Devilish Mill"). The work consists of six sequence that have their own dramatic, musical, and architectural meaning independent of the piece as a whole. The piece is based on military orders in different languages, as well as the sounds emitted by human groups (soldiers), which constitute the answer itself or accompany the answer that is required. The composer processes the sounds of the orders to deepen the grotesque and lugubrious character that these orders contain.
Mr Frankenstein's Babies: Recording of Klaus Röder's Mr Frankenstein's Babies for tape. The sound material consists only of voice sounds recorded by Röder himself. The sounds were worked out in an envelope shape and then copies upon the other so that there was a "chorus" sound.
Tanz-Trypticon: Recording of Jürgen Bräuninger's Tans-Trypticon.
The waste land: Recording of Elżbieta Sikora's The waste land, for fixed media. The piece is a journey through time and spaces. The present is mixed with the past, the ordinary with the extraordinary, dream with reality. The work was commissioned by the Experimental Studio of Polish Radio and was realized in October 1979. The text comes from T. Elliot's poem "The Waste Land."
Chacoel (Musik für den frühen Abend): Recording of Martin Rudolf Schwarzenlander-Fischer's "Chacoel (Musik für den frühen Abend)" for tape.
Play bach: Recording of Mayako Kubo's Play bach for eight channel tape. Play Bach is mainly based on two elements: first, there is no fixed form and no fixed duration because the composition consists in a mobile-system; second, the sound material uses only the tones B (Si-flat), A (La), C (Do), and H (Si) in different octaves performed by three instruments and with the letters B, A, C, and H spoken with human voice. Because the eight tracks are combined using a mobile system, each performance presents different combinations and thus a different performance each time.
Das unrecht in meinem bad: Recording of Martin Rudolf SchwarzenLander-Fischer's "Das unrecht in meinem bad" ("Injustice in my Tub") for tape.
Le grand silence d'un seul oiseau: Recording of Will Eisma's "Le grand silence d'un seul oiseau" ("The great silence of a single bird") for tape. During World War II, a network of 40,000 km of trenches crossed South Flanders and the North of France. Still today, there remains part of these trenches as a long underground tunnel somewhere around Metz and Verdun. The composition represents an imaginary underground journey from Calais to the Swiss border, through the infernal moles, in the gloomy and frightening obscurity of this absurd war. The poem of Ab Van Eyk tells of these horrors: "Someone walks forward, slowly spitting out his lungs, while a bird pass near me, the gas ......... The night shows fiery angels, among the lights of the "no man's land "; until the twilight silence arrives, the great silence of a only bird, just before sunrise raspberry color." The piece was composed and realized in the studio Five Roses in April 1981.
Son recif: Recording of Jacqueline Ozanne's "Son recif" for voice and tape. This piece comes from a work on the myth of the sirens and includes texts written on this theme in their original languages. As the singer/speaker repeats the story, it is crossed by the sounds of these languages, by songs that cannot continue, as well as successive states of emotion. The electroacoustic tape plays a constant dramatic role: sometimes worrisome, sometimes reassuring, sometimes enveloping presences, it continually influences the interpreter in their vocal and dramatic production. The performance includes a video projection.
Maa'ts: Recording of Bogusław Schäffer's Maa'ts for tape (4-lane). The composition if a collage for voices and electronics. The choir sings in harmonically exact microcompositions.The piece was produced in February 1981 in the studio of the Technical University Berlin.
Pax: Recording of Gottfried Martin's Pax for tape. Includes electronic and natural sounds, including voice, news recordings, and recordings of war sounds.
Twilights "protokolle für tonband gleichzeitiz gespielt mit window": Recordings of Gerhard Stäbler's Twilights "protokolle für tonband gleichzeitiz gespielt mit window" (Ewilights "Protocols for tape played simultaneously with window"). Poems were written by Ernestro Cardenal and other texts were taken out of "NEWSWEEK" issues between Auguest 1 and 8, 1983. Produced at the Computer Center of Stanford University/California.
Approcci a petrarca: Recording of Hans Ulrich Humpert's Approcci a petrarca. This work is made up of five sections, which are voice and electronics. The piece features many sounds such as voice, electronics, writing with a pencil, and sound effects.
La Confession: This work was created from a story entitled "The Confession" that I wrote in 1989. In Spanish originally, it was translated into Hebrew, French, English and German. Some of these texts in different languages have been integrated into the work. "Confession" records the psychological oscillations - from mental stability to madness or vice versa - that the protagonist goes through. "The Confession" of the human voice, the electronic instruments (synclaiver), the acoustic instruments (harp, trombone, cello, flute, percussion) and the concrete sounds create a semantic interaction with the syntax of the musical language.
Flurstück: Recording of Ipke Starke's Flurstück. The composer denotes "Flurstück" as meaning a piece of countryside, a rural landscape (Flur), which is private property; this is important to a central theme of ownership and its interactions with natural environments vs more "technical" atmospheres. It is described as such: The background of the piece is the dismemberment of the landscape, the subdivided land. From this are born the images. Fields, travel, property, appropriation and expropriation, the battle, fields of march in songs of the consequences. The beautiful atmosphere is disturbed. The notion of ownership must appear in the title: we listen differently when we think of ownership. The composer's interest is in particular in the different silences that were recorded in the countryside in specific favorite places. Added to this are "technical" atmospheres, incidences and "hinges" which oppose natural environments, and which are a reflection and documentation of their confrontation, of the division of the earth. The very precise measurement of the landscape is transmitted to the structuring of the piece by precisely measured durations, unequal, rhythmic, but not insertable into a frame. After the journey through these images of boundaries and fences, and faced with this frustrating experience, the composer notes that it is impossible for them to confide in the beauty of the landscape as an entity, instead only finding beauty with the help of the knowledge of this situation and in taking a position, in a positive aggressiveness which resembles bright neon - not euphemistic, but which gives the means to react.
Teilstrategien: Recording of Klaus Martin Kopitz's Teilstrategien. The piece's subtitle is "10 variations about the sound of a language". There are recorded improvisations of bass clarinet and piano, which were stacked up to 12 tracks with electronic effects. The 7th Variation is only made up of speech and incorporates nature recording.
Das geheimnis des verlassenen raumes: Recording of Klaus Martin Kopitz's Das geheimnis des verlassenen raumes. This piece has voice throughout the whole piece while samples and electronically-built sounds give dialogue.
Die ehe der andromache: Recording of Hans Ulrich Humpert's Die ehe der andromache. This work is made up of five sections which are made up of electronic processed voice and electronics.
Die chore der andromache: Recording of Hans Ulrich Humpert's Die chore der andromache. This work is made up of five sections which are made up of electronicly-processed voice and electronics.
Le bass de auf a bourges du dat: Recording of Jürgen Bräuninger and Ulrich Süsse's Le bass de auf a bourges du dat. It is a work for saxophone, bass clarinet, and electronics. There are speech snippets which are accompanied by free improv from the saxophone and clarinet, while processed and manipulated recording of these instruments play in the background.
Mimoyecques: Recording of Elizabeth Anderson's Mimoyecques. The piece consists of two sets of recordings and electronics. One set of recordings would be made in and around the fortress and would serve as the base where the imprisonment, death, and transfiguration themes would be built. The second recording is in the languages of the 18 nationalities of the laborers. The central section of the work illustrates the idea of terror freedom is suddenly, inexplicably removed. The final section explores the concept of the departure of the souls of the victims.
Le vieux chant pour la cathédrale: Recording of Lothar Voigtländer's Le vieux chant pour la cathédrale. This work uses synthetic sounds to produce a soundscape with bells, whistles, and harmonic metallic sounds. Accompanying the electronics is voice, which explores a wide variety of vocal range.
Les Vusions: Recording of Ulrich Süsse's Les Vusions. Rabelais' ideologies and visions are musically represented in this piece. This is done by building structures and walking away from them. The structures are taken from the sound (preferably from a precise vocal) and the continuation of the language of Rabelais. There is the use of everyday normal objects, but the technique of electronic transformation demonstrate direction and transition.
Aï∂a ∂omi: Recording of Mia Schmidt's Aï∂a ∂omi. The spoken word, on which the composers short composition for tape "a rose is a rose" is basing, transfers two antithetical messages. The poem "rose is a rose" written by Gertrude Stein is a love- poem. The composer added sentences, taken from newspaper articles discussing the brutality of the pornographic industry. The poem is represented by this overtone-spectrum in form of sinus-tones or slightly modified sinus-tones. The sentences from the newspaper articles are normally spoken.
Candide: Unterwegs - en cheminn en el camino - Away: Recording of Hans Ulrich Humpert's Candide: Unterwegs - en cheminn en el camino - Away. This piece includes periods of overlapping voices, with voices speaking in French, German, English, and Spanish; sometimes these overlaps consist of two voices in different languages, sometimes more.
Media Survival Kit: Recording of James Dashow's Media Survival Kit. This work is a lyric satire in three parts for radio. This instruments heard include: harp, contrabass, percussion, cello, and soprano voice. The processed pre-recorded sound were put through synthesis which was done using a MUSIC30 system. The three differing movement are titled: Nico, Crema (Cream), and Tutti Collegati (We're All Connected).
Sieben Stufen: Recording of Hans Tutschku's Sibeben Stufen. This is an electro-acoustic composition based upon the poem "Verfall" (decline, decay) by Georg Trakl. All the sounds are derived by manipulations of two recordings: the poem spoken by four different voices (German and French) and four chosen German main-words sung seven different pitches and the same for the French speech. The piece is structured in 7 parts which each represent at once an approach and distortion of the text.
Unheimliches wasser: Recording of Blas Payri's Unheimlickes wasser. This work uses spoken word, electronics, and pre-recorded sound to create a sonic environment which tells a story and holds suspense.
I hear you think: Recording of Johannes S. Sistermanns' I hear you think. This work consists of various concrete sounds as well as spoken text written by Hazrat Inayat Khan.
Spring in Berlin: Recording of Lothar Voigtländer's Spring in Berlin. This is a work for electronics that samples many concrete sounds from around Germany.
Die Unsichtbare front: Recording of Ipke Starke's Die Unsichtbare front. The composer notes the following: The spatial installation of this work was designed and realized for the highest space in the building of the Technical Collections of the city of Dresden. This place just below the dome of the tower with its exceptional view of the city and the nearby radio tower is part of the work. The composition itself consists of 16 minutes of music on magnetic tape, constantly looped, spatialized and broadcast through the 7 loudspeakers configured in the space. The piece is based on modulations of extremely high frequencies, up to the limits of the audible, whose dynamic degree barely reaches the threshold of perception. What is significant vis-à-vis the content of the play is their interruption by documentary material: news in different languages, interviews, recordings of demonstrations, reports and documents from the archives, and synthetically generated or processed sounds of associative character. This confrontation of situational elements with documentary elements generates contradictory tensions in space. The architectural form of this one is also substantial: first of all, the space is presented in a neutral way, not done on purpose for pleasure. The exposed location of the dome provides openness, the experience of seeing the big picture. After the East German secret service left its offices, housed here six years ago, public access is now, the finished restoration work, made possible again. The space was left in its pristine state. It gives the impression of transparency, a membrane permeable to the signal. Within this constellation, the documentary and definable material fulfills the expectations of habitual sensual pleasure, and the desired ornament appears, but distanced and in modern form, that is, as information. or, more correctly, clothed with information, since the information itself is of no importance and is far from …
Aquapolis: Recording of Lou Mallozzi's Aquapolis. The sound material is language and ambient recordings. The text is written in English, and has been translated into German and Venetian Italian. There are aquatic sounds, body sounds, and sounds of physical labor. Conceptually, the piece is based on a fictional trans-historical walk through an aquatic city, loosely based on Venice. The piece is in four sections: Preamble, 2000 Years Ago, 200 Years Ago, and This Year.
An die materie: Recording of David Prior's An die materie. Written for dancer, choreographers, voice, and electronics. The relationship established between the music and the movement, was carefully considered throughout the collaborators. The piece was inspired by a poem by French Jesuit mystic Pierre Theilhard de Chardin in its German translation.
Dirigez la fortune: No Description Available.
Fear of flying: Recording of Lutz Glandien's Fear of flying. This is a work for electronics that consists of plane sounds and spoken word.
Hymne an die materie: Recording of David Prior's Hymne an die materie. "An die Materie" was written for dancer/ choreographers R. The piece was inspired by a poem by French Jesuit mystic Pierre Theilhard de Chardin in its German translation. The piece was primarily intended for an anglophone audience, giving the opportunity to use the text for it's complex morphologies. Although inextricable from the recording technologies which made it possible, and in stark contrast to much of my other work, the lines or layers suggested by the multi-track method by which the vocal or instrumental 'performances' were played into the computer.
Wenn die klagestimmen der stadt II: Recording of Christian Banasik's Wenn die klagestimmen der stadt II.
Zu klugen Gestirnen: Recording of Riccardo Dapelo's Zu klugen Gestirnen. For soprano and tape. The work is derived from a picture poetry of Paul Klee. The composer tries to separate elements common to Klee's theory. The starting point is a small sound gesture: an upward exponential function. This function shapes all the steps of the work in a motion from noise to sound. The attempt is to build a self-similar structure with matching between small details and larger forms.

UNT Music Library - 71 Matching Results

Search Results

Add Filters

Applied Filters