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- Wals van kwart voor middermacht
- Recording of Geurt Grosfeld's "Wals van kwart voor middermacht" for tape.
- Faculty Recital: 1987-12-04 - Jesse Eschbach, Organ
- A faculty recital performed at the UNT College of Music.
- School of Music Program Book 1986-1987, Volume 1: Fall/Spring Performances
- Fall/spring performances program book from the 1986-1987 school year at the North Texas State University School of Music.
- School of Music Program Book 1986-1987, Volume 2: Student Recital Series
- Student performances performances program book from the 1986-1987 school year at the North Texas State University School of Music.
- Tremens
- The title of the composition is taken from a line by Cicero, "toto pectorum tremens" ("the whole breast trembling"). The main musical ideas in this piece are all related to the act of trembling as a response to some basic emotional state such as anticipation, fear, panic, exhaustion, etc. In order to expand the timbral palette of the pieced material, I have incorporated into the composition synthetic, unpitched sounds such as wind, breathing, and large, struck sheets of metal. During the course of the work the Bach choral melody "Was bist du doch, o Seele, so betrubet" appears. The harmonisation is mine and the choral setting is intentionally left incomplete. This composition was realised at CCRMA under an "artist-in-residence" gnat from the Rockefeller Foundation. The composer would like to thank Bill Schottstaedt for the use of his FM instrument, which was used to generate most of the sounds in this piece.
- Something to Say
- Even thought the composition doesn't conclude any concrete theme, I have decided to participate in the category C. The basic work of composition is visual imagination, in which the musical form is subordinated. That is why the basic form of the choregraph movement of the interpret on the stage is so close connected to the music. From the point of view of the musical confrontation of three elements, which flow into music conflict. The score of the solo trumpet and the music of the recorded trumpets on the tape are mono thematical. This theme is bipolar and has an interval structure, which develops into an evolutionary development. The movement of the player has direct connection with the form of the composition elements. The selection of harmonic elements oscillates between the chromatically using of the former mentioned structural model by the use of micro intervals. My basic imagination other than the musical idea, which I wanted to express, deals with the fate of humanistic ideals in this world and fate of its authors.
- Sonnerie de l'Arc de Cercle
- This is the result of an exploration of writing in space, in this case for the speakers placed in an arc forming a sound screen of 150 'to 220' aperture. This piece is also the result of an exploration of electroacoustic writing. 6 movements the structure: 1. Opening, solatonic less than a minute. 2. Around rain, or shudder of a more neumatic writing. 3. Duo where the bottom engulfs the soloists to merge into the fourth movement. 4. Explosions, tears falling in tessitura. 5. Heart of music for percussion and synthetic choir 6. Coda, rain, oblivion ...
- Oro, Argento & Legno
- Oro, Argento & Legno ("Gold, Silver & Wood") is once again a large-scale work, this time for flute (or rather for flutist, who is asked to play not only a regular flute but also an alto flute and piccolo) and computer. It is a virtuoso work requiring a great deal of technical precision and agility from the flutist who at the same time is given ample opportunity to display his powers of musical interpretation. The form of the piece approximates a freely transformed and re-interpreted symphonic concerto with five major sections, played without pause, each having its own textural, timbral and rhythmic characterization which contributes to the shape or curve of the composition conceived as an organic whole. The major unifying force across the sections is the intervallic material played by the flute, derived by means of a rigorous adherence to the composer's highly flexible dyad system. This system furnishes not only the flute part but also the basic generating intervals for the electronic sounds. The flute's intervals are transformed into the electronic sounds by various methods, with the result that there are (at least) two versions of the same fundamental musical material going on all the time, a kind of counterpoint in transformations. The dyad system characteristics begin with purely musical conceptions which are then elaborated by a variety of procedures into an audibly coherent hierarchically structured whole. The composer's musical ideas, his way of hearing things, are what determine the nature of large and small scale structures and how they will be developed by and within the system at each step along the way. Oro, Argento & Legno was written for and dedicated to the Florentine flutist, Marzio Conti who has recorded it for Wergo. The title of the work refers simply to the three materials of which …
- Noctuel
- Recording of Gilles Racot's Noctuel.
- Off the Lip
- "Off the Lip" is a term applied to surfing and windsurfing, meaning turning on the broken top of a wave. The piece "Off the Lip" came to exist in the break between the old and the new. This applies to studio techniques as well as instruments (traditional instruments, synthesizers and computers) used in this room.
- Breeding for Computer and MIDI Systems
- This is a real-time performance of computer. This piece's "Structure" (changing with time of the density of sounds, distribution of sound-frequency, character of the sound-space, etc) was decided by translation and adaptation of the results of Monte Carlo simulation about the ecological concepts -birth, growth, death, etc-. It's used here to suggest a systematic but multiply stimulated study of materials and their organisation. Many scales and tunings consist of re-construction of the frequency-values as the results of random operations. And this scales change with time.
- Pas de Voix
- 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.
- Konstruktie IV
- In 1989, "Konstruktie IV" obtained a "Residence" at the "17e Concours International de Musique Electroacoustique de Bourges 1989". This Prize gave him the possibility to realize an electronic work in the "Laboratorio de Investigacion y Produccion Musical del Centro Cultural Recoleta" (Buenos Aires/Argentina). Here, he made in the months March/April 1990 the work "Buenos Aires". The first performance of the work was in the concert hall of the "Centro Cultural Recoleta".
- Meteora
- "Meteora" is a monastery located near Delphi and built on top of three huge blocks of stone that dramatically overhang a flat land elsewhere. "Meteora" was composed at the Stanford Computer Music and Acoustics Research Center (CCRMA).
- Metalmorphosis
- The piece uses a fairly wide variety of sounds made of metals as well as sounds from a SFU's Gamelan orchestra. Then on the compositional level it is based on the principle of movement from simple to complex, and vice versa, metamorphosing a stamp or texture into another in the process.
- Action/Passion
- Recording of Annette Vande Gorne's Action/Passion. It is the result of a close collaboration where choreography and music were designed in interaction. The work is inspired by inner energy and its manifestation: movement. During the show, the dynamic movements of the sounds unfold in the space thanks to a spatialized interpretation. Music and dance play on very contrasting energies such as breaths, fluids, attack/immobility, attack/movement, rebounds, journeys, falls, crushing, rotations, oscillations, flights; causing so many stages of a sound metamorphosis of matter into movement.
- [Jim Pugh Lecture, March 3, 1987: Part 1]
- Jazz Lecture Series presentation by Jim Pugh on March 3, 1987 at 9:00AM at the UNT College of Music. Includes lecture and performance by Jim Pugh, trombone, interspersed with questions from the audience.
- [Gene Bertoncini Lecture, March 10, 1987: Part 3]
- Jazz Lecture Series presentation by Gene Bertoncini on March 10, 1987 at 2:00PM at the UNT College of Music. Includes lecture and performance by Gene Bertoncini, guitar, interspersed with questions from the audience.
- Obeying the Laws of Physics
- Recording of Daniel Scheidt's Obeying the Laws of Physics. This piece establishes an interactive situation made up of four regions of timbre - each representing a family of instruments. The percussionist explores each region and controls the transitions from one sound area to another by playing certain patterns derived from percussion playing techniques. Obeying the Laws of Physics was commissioned by Trevor Tureski with assistance from the Canada Council for the Arts (CCA) and premiered by him in October 1987 at the Banff Center for the Arts. This recording was made at Luscar Digital Audio Studio at the Banff Center for the Arts in July 1990.
- [Album Artwork: Lab 87]
- Album artwork for the Lab 87 album for One O'Clock Lab Band directed by Neil Slater.
- Guest Recital: 1987-10-11- William Montgomery, flute
- Guest artist recital performed at the UNT College of Music Recital Hall.
- Ensemble: 1987-12-01 – Women's Chorus
- Women's Chorus performance at UNT College of Music Concert Hall.
- Ensemble: 1987-07-02 – Summer Choir
- Concert presented at the UNT College of Music.
- Faculty Recital: 1987-01-26 - Larry Austin, composer
- Faculty recital performed at the UNT College of Music Recital Hall
- Guest Recital: 1987-02-03 - Jo Ann Pickens, soprano
- Guest recital performed at the UNT College of Music Concert Hall
- Faculty Recital: 1987-03-31 - Christopher Lindbloom, voice
- Faculty recital performed at the UNT College of Music Recital Hall
- Faculty Recital: 1987-04-01 - Vern Kagarice, trombone
- Faculty recital performed at the UNT College of Music Recital Hall
- Faculty Recital: 1987-04-13 - Faculty Chamber Recital
- Faculty and guest artist recital performed at the UNT College of Music Concert Hall
- Guest Recital: 1987-05-18 - North Texas Youth Orchestra
- Ensemble performance at the UNT College of Music.
- Faculty Recital: 1987-09-24 - James Gillespie, clarinet, Steven Harlos, piano, and Carol Harlos, cello
- Faculty recital performed at the NTSU School of Music Recital Hall
- Guest Artist Recital: 1987-09-29 - Cynthia Folio, flute
- Guest artist recital performed at the NTSU School of Music Recital Hall
- Faculty Recital: 1987-10-15 - Faculty Chamber Music Series
- Faculty recital performed at the UNT College of Music Recital Hall
- Guest Recital: 1987-10-16 - Dobree, Georgina
- Guest recital performed at the UNT College of Music Recital Hall
- Faculty Recital: 1987-10-19 - Miller, Laurel, voice
- Faculty recital performed at the UNT College of Music Concert Hall
- Guest Recital: 1987-10-28 - Stephen Bishop-Kovacevich, piano
- Guest recital performed at the UNT College of Music
- Faculty Recital: 1987-10-30 - Steven Harlos, piano
- Faculty recital performed at the UNT College of Music Recital Hall
- Guest Recital: 1987-02-09 - Mark Sparks, flute
- Guest artist recital performed at the UNT College of Music Recital Hall
- Guest Recital: 1987-02-18 - Anshelevich, Yuri, cello
- Guest artist recital performed at the UNT College of Music Recital Hall
- Rappel II
- Recording of Elżbieta Sikora's Rappel II. Rappel II was written between June 1987 and June 1988. The work is made up of various modules: evolving, they meet in ever-changing configurations. in bits and pieces, melodies, in their anachronism and their sometimes decadent rhythms, making their way through increasingly thick sound screens, until they disappear forever in the final crescendo. A fairly brief first part in which the elements are stated. A sequence with a defined rhythm, accentuated, begins the second part: under all light and in other times, it is the recall of the previous one. They are played without interruption. The technical process of transformation in real time, adds a coloring and an enlarged spatialization of certain sounds and sound groups.
- Epiphanies
- Recording of David Keane's Epiphanies. Epiphanies is a work for solo English horn, the sound of which controls a Yamaha CX5M music computer by way of a Pitchrider (pitch-to-MIDI converter). The timbres are changed by the performer using a foot pedal, according to a pre-programmed schema. This procedure allows for the power of computer re-sources, but the flexibility of live performance. Although the character of work is meant to be that of an unaccompanied work, the CX5M voices have been designed to blend with, extend, and transform the sound of the English horn I a variety of ways. The title suggests the subtle and sometimes magical qualities that can suddenly present themselves and just as suddenly disappear. The original form of Epiphanies was created in February-March of 1987 using the resources of the composer's personal electro-acoustic music studio in Scarborough, Ontario. The work was commissioned by Vancouver recorder virtuoso Peter Hannan with the assistance of a Commissioning Grant from the Canada Council. The score and the voicing were adapted for English horn in 1990 for Lawrence Cherney. The premiere of this version of the piece was given on 1st December 1990 at the Music Gallery (Toronto).
- [Dan Morgenstern Lecture, February 17, 1987: Parts 1 and 2]
- Jazz Lecture Series presentation by Dan Morgenstern on February 17, 1987 at 9:30AM at the UNT College of Music. Includes lecture by Dan Morgenstern.
- [Eddie Gomez Lecture, February 24, 1987: Part 1]
- Jazz Lecture Series presentation by Eddie Gomez on February 24, 1987 at 9:30AM at the UNT College of Music. Includes lecture and performance by Eddie Gomez, double bass, interspersed with questions from the audience.
- [Gene Bertoncini, March 10, 1987: Parts 1 and 2]
- Jazz Lecture Series presentation by Gene Bertoncini on March 10, 1987 at 9:30AM at the UNT College of Music. Includes lecture and performance by Gene Bertoncini, guitar, interspersed with questions from the audience.
- [Danny Gottlieb Lecture, March 31, 1987: Parts 1 and 2]
- Jazz Lecture Series presentation by Danny Gottlieb on March 31, 1987 at 9:30AM at the UNT College of Music. Includes lecture and performance by Danny Gottlieb, drums, interspersed with questions from the audience.
- [Conte Candoli Lecture, April 7, 1987: Part 1]
- Jazz Lecture Series presentation by Conte Candoli on April 7, 1987 at 9:30AM at the UNT College of Music. Includes lecture and performance by Conte Candoli, trumpet, interspersed with questions from the audience.
- [Jerry Bergonzi, April 14, 1987: Parts 1 and 2]
- Jazz Lecture Series presentation by Jerry Bergonzi on April 14, 1987 at 9:30AM at the UNT College of Music. Includes lecture and performance by Jerry Bergonzi, saxophone, interspersed with questions from the audience.
- [Buddy De Franco Lecture, April 21, 1987: Part 1]
- Jazz Lecture Series presentation by Buddy De Franco on April 21, 1987 at 9:30AM at the UNT College of Music. Includes lecture and performance by Buddy DeFranco, clarinet, interspersed with questions from the audience.
- [Jim McNeely Lecture, April 28, 1987: Part 1]
- Jazz Lecture Series presentation by Jim McNeely on April 28, 1987 at 9:30AM at the UNT College of Music. Includes lecture and performance by Jim McNeely, piano, interspersed with questions from the audience.
- Storm Song
- Storm-song, as the title suggests, is concerned with two very different forms of musical material: 'storm' - tempestuous, dramatic and sometimes violent music with a strong sense of forward movement and goal orientation; and 'song' - a more lyrical, melodic aspect suggesting stasis and rest. These two ideas are developed through opposing musical means. For example, 'storm' is characterised in the tape part mainly by noise-based sounds, whereas 'song' uses more pitched material. Similarly, in the piano part, panchromatic 'storm' music is contrasted with much more modal writing for 'song'. Although the contrast between these two ideas is central to the work, they are seldom heard in isolation; rather, a dialogue is established in which elements of both types of material take part, each drifting in and out of the dominant role, this relationship itself being mirrored by the interplay between tape and piano. Storm-song was composed during the spring and summer of 1987 in the Electroacoustic Music Studios of the University of Birmingham, England, and was commissioned by Philip Mead with funds from Northern Arts. It was awarded a Mention in the 15e Concours de Musique Electroacoustique de Bourges, 1988, and in the same year was selected for the Gaudeamus International Music Days, Amsterdam.
- Caught in an Octogon of Unaccustomed Light
- This composition continues the development of a musical language based on the color of unusual acoustic sounds. In this case the predominant use of inharmonic timbres (metal, multiphonics and a non-octave tuning system), creates the language that our musical traditions has for the most part ignored. A series of sections or "windows" based on specific sound sources has the listener "caught" by their interactions. Overall structural integrity is maintained by the reuse of similar gestures, colors and tuning system. The composition was created entirely through digital recording and mixing of acoustic sounds and no electronic effects or processing was used. This working method combined with the compositional decisions produces a pure, untranslatable, and sensuous immediacy to the music. This immediacy is partly created by the recording techniques which accents the presence of the performer behind each instrument. Therefore the piece continues the composers' polemic against the increasing depersonalization of music made by electronic synthesis. By capturing the irrationality and irregularities of human performance this composition suggests an alternative way of allowing the human presence to be perceived through the vastness of the technology used to create such a composition. In this sense the deadening skin of sound habituation is peeled away to reveal a vivid, unaccustomed sound world of timbres, rhythms and melodies. This world could never be performed by a live ensemble because of the physical problems of instrument placement and amplitude differences and general performability problems because of rhythm and tuning. The composition was commissioned by CKLN radio in Toronto, with assistance from the Ontario Arts Council.