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10C.7D1.023-0.1
Recording of Gianluca Ruggieri's 10C.7D1.023-0.1. This is a work for electronics and consists of 4 untitled movements.
1789-1989
Recording of Juan Blanco's 1789-1989. This piece aims to expose how the French Revolution, through the Declaration of the Rights of Man and of the Citizen, inspired the liberation movements of the people against the oppressive and tyrannical governments. The piece is divided into two parts, which give a sound panorama of the triumph, using electronic and acoustic equipment, the latter taken from songs of the time: "Departure to Place de la Bastille"; "Place and capture of the Bastille", "Lamentation of Louis XVI" and "The Permanent Guillotine", and ends with a few words from the Declaration of 1789, in French.
1789 Libegal FRA
Ivan PATACHICH: 1789 Libegal FRA The title of the play is a date, known throughout the world, and an acronym containing the first syllables of the three slogans of the French Revolution: FREEDOM, EQUALITY, FRAternity. The sound materials of the play are those three words spoken and sung in nine languages, French, English, Spanish, Chinese, Arabic, German, Erithrenic, Russian, Hungarian, and the sampled structures of the vowels and consonants of these notes in nine languages, as well as two concrete sounds. These sounds are interlaced by a pre-recorded and modulated percussion part and another one of percussion "alive" / live / without modulation. The work has nine parts "atacca". Its bridge shape is phrased by rhythmic contrasts. After the fifth section, the sections return "in crayfish", but in a varied form. The stereophonic work was realized with the collaboration of Istvan Horvath, sound engineer, Gabor Kosa, impact, Agnés Mester, -soprano, Gabor Olah, -Baryton.
1969 New Orleans Jazz Festival, "One at a Time Blues"
"One at a Time Blues," featuring multiple soloists at the 1969 New Orleans Jazz Festival.
1er quatuor, pour deux violons, alto et basse, oeuvre 5
Musical score containing the four parts of Charles Dancla's first string quartet, op.5 in F minor, written for two violins, with alto and bass.
[1st Annual 28th Fest poster]
Poster advertising the First Annual 28th Fest concert by Spooky Folk, Babar, New Science Projects, Peopleodian, and Cool Womb on March 20, 2013, at J & J's Pizza on the square, Denton, Texas. Poster features an illustration of a grid of bearded faces on a blue background to the right of event details in various red fonts on a pink background.
3b
Recording of Ioannis Kalantzis' 3b. The composer used the bassoon in a rather post-classical way. The composer also used characteristics, which functions as a point of reference, by replacing a melodic subject with a single minor 3rd interval. Furthermore, the sentimental content that an interval expresses was explored. Such as, a minor 3rd (with a grace note-pattern), while giving different colorings around the content of this interval. The electroacoustic material comes entirely from bassoon sounds.
[3rd Annual Cohesion Birthday Bash poster]
Poster advertising the 3rd Annual Cohesion Birthday Bash on July 8, 2006, at Texas Jive, Denton, Texas. The concert, put on by Denton Cohesion collective, included Sleezus Fist and the Latter Day Taints, Save the Humans for Later, Opaque, The Mad Scientists, Idi Amin, Wake Up April, The Little Brothers, Buzz and Hum, The Wrecking Crew, DJ Lynnea, Craig Welch, McNasty, Paul Slavens, Christopher Largen, Will Kappinos, Frank Heijl, Will Riddenour, Keith Brown, and Mauveoed. Poster features an illustration of a jester holding a skull covered in candles in one hand and a bouquet of detached eyeball balloons in the other, emerging from a box. Event details are listed in purple and green text on a black background.
Les 5000 roses
Recording of Michel Frigon's Les 5000 roses. This moment is part of an impressionist suite for flute, percussion, and tape inspired by St.Exupéry's 'The Little Prince'. This movement evokes the journey of the Little Prince through the sands and rocks to a road that leads to men. Arrived in the middle of a rose garden, he realizes that his rose is no longer unique in the world and lying in the grass, he cried.
6th day
Recording of Agnieszka Waligorska's 6th day. This work is for electronics, voice, pre-recorded manipluated sound, and saxophone.
7e. quatuor, pour deux violons, alto et violoncelle, oeuv.80
This is a digital copy of the four parts of Charles Dancla's seventh string quartet, op.80 in D minor. Charles Dancla was the most prominent member of a family of musicians and a virtuoso violinist, composer and teacher. In 1828, he was admitted to the Paris Conservatory of Music, where he won the first prize in 1833. At the Conservatory, he studied violin with Paul Guérin and Pierre Baillot. Dancla played solo violin with the orchestra of the théâtre Royal de l'Opera Comique and with the Société des Concerts. In ca. 1860, he was appointed professor of violin at the Paris Conservatory and retired from that post in 1892. He wrote 14 string quartets intended for professional or amateur players (opp. 5, 7 ,18, 41, 48, 56, 80, 87, 101, 113, 125, 142, 160, and 195a) and three easy string quartets (op. 208).
A
Recording of Maria Francesca Ancarola Saavedra's A. The single source is the voice, which is processed in different ways. The devices used for this work were essentially the SPX YAMAHA 900 and the LEXICON. This piece utilizes many techniques of sound manipulation, using only one sound source and processing to produce new sounds.
N.A.M.A.: "booty" don't walk
Recording of Harry-Ed Roland's N.A.M.A.: "booty" don't walk. The composer dedicates this work to the memory of Michael Schleiter. The inspiration behind this piece is the experience of the composer living as a person of color and continuing to deal with inequality everywhere he goes. The work is about "creating inequality and its seemingly intrinsic hypocrisy and irrational fears".
Aarhus
Recording of Mario Mary's Aarhus. This is a work for violin and tape and explores the relationship between the two. This work was dedicated to violinist Bodil Rorbech.
Abandoned Lake in Maine
Recording of Mara Helmuth's Abandoned Lake in Maine. This work's compositional process uses technology to return the listener closer to nature, and into new relationships with nature. The composer's software, instruments, and algorithmic programs were used to create much of the material. The sources for this piece are recorded sounds of the loon in its environment and a naturalist's voice. This work uses field recordings of Maine.
[Ableton University music workshop poster]
Poster advertising music workshops by Ableton University, featuring Cloudchord, Robert Trusko, and Serafin Sanchez on April 7, 2017 at the UNT College of Music, coordinated by the Division of Jazz Studies.
Aboji
Recording of Tae Hong Park's Aboji. This work is a companion piece to "Omoni", both works being composed originally for two channel playback and subsequently for eight channels. The sound samples used in this composition are mostly speech, environmental, synthesized, and processed sounds that were a result of numerous interviews with various individuals.
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.
About Howard Johnson/Affirmative
Recording of Joshua Fried's About Howard Johnson/Affirmative. This work uses MIDI in unusual ways. Sound modules become a silent controller of analog gates, and continuous controllers manipulate digital processors in real time. When channel gates are triggered at an even rate, one obtains the well-known strobe effect of slowing down, stopping or even reversing the apparent motion of a rotating object. As trigger cycle and loop cycle move out of phase, bits of sound seem to wander from speaker to speaker through the space. This work also functions as a study for live performances that will process found sound with a combination of selectable algorithms and performer control.
Abracadabra
Recording of Edmund Cionek's Abracadabra.
Abrasch
Recording of Cornelis Tazelaar's Abrasch. This piece is made entirely with the Granular system's output as a sound source, but is not a pure granular piece due to the program used to make it.
Abrazos
Recording of Daniel Almada Abrazos. For cello, double bass, and electronics.
ABS Track sion
Recording of José R. Sosaya Wekselman's ABS Track sion.
The Absolute Supremacy of the Ampico
Advertisement for Ampico pianos. "1926" penciled in top left corner.
Absorption
Recording of Jongwoo Yim's Absorption. This work includes instrumental sounds as well as electronic sounds (both from tape and live electronics). The clarinet line is a spotlight and eventually gets pulled into the harmonies of the other parts.
Abstract for the AMS Southwest Chapter’s April 11, 2015 Spring Conference
This is an abstract for a presentation that was given at the American Musicological Society Southwest Chapter's Spring Conference on April 11th, 2015. The presentation was given alongside a poster display. This abstract highlights Serge Jaroff's Don Cossack Choir, which was founded at a Turkish concentration camp in 1921, and went on to perform around the world. This abstract gives details on the history of the choir and the type of concerts that Jaroff gave. In addition, it explains the lack of scholarly attention that Jaroff and his choir have received.
Abstract n° X
Recording of Peter De Moncey-Conegliano's Abstract n° X. The composer describes this work as an abstract mindscape based on a distantly experienced reality. The basic materials are sounds the composer recorded in China.
[An Abstract of Research Project on "Computer Studies in Indian Music']
An abstract detailing future research projects covering computer applications in Indian Music.
Abstracts
Recording of Jonty Harrison's Abstracts. This work includes 2 recordings. One of which is simply the produced electroacoustic tape on its own. The other is a live performance of the tape along with the University of Birmingham Symphony Orchestra performing on top of it. The composer's goal was for the tape to create musical continuity while the live performers abstract upon it in varying ways.
Access Methods for Resources of Material Culture: Genres and Forms
Presentation for the 2017 Annual Conference of the International Society for Landscape, Place, and Material Culture. This presentation focuses on access in relation to genre and form projects.
Accessus
Recording of Fabián Esteban Luna's Accessus. This work represents the search for equilibrium and includes an implicit metaphor of the sea to act as a symbol for the search. This work was created by sampling sources and diverse synthesis.
Accidents two: Sound projections
Recording of Larry Austin's Accidents two: Sound projections. For piano and computer music. This work extends and substances the original compositional and real-time performance approach from an earlier work. There is an open form, invoking highly evolved improvisational formats and extends the musico-technical resources from the live electronics piece towards hypermedia and subsumes the actual sounds from the original work.
Les Accords d'Helsinki
Recording of Trevor Wishart's Les Accords d'Helsinki for tape.
Les accords d'Helsinki
Recording of Steve McCaffrey and François Dufrêne's Les accords d'Helsinki. These pieces are part of a suite for electronics. Sound materials include vocalizations and spoken text.
Acéré
Recording of Alain Basso's Acéré. The intention was to create a piece about war. Different object sounds were recorded in the studio, to have a wider palette of percussion sounds. The idea is that these percussions gradually change. As in the repetition of a 'kata', a movement sequence in martial arts, the concentration becomes more intense and the sounds increasingly sharp, by playing on the harmonics they contain. To give a feeling of space to this movement, transformed soundscapes create an atmosphere with a progressive opening and a greater perception of the human presence.
Acetone
Recording of Alain Basso's Acetone. It was created essentially from sounds representative of landscapes and festivities in Haute-Savoie, this piece explores the limits of the possibilities of sound mutation. The idea is to exaggerate certain acoustic characteristics, to better control the expressiveness of these sound objects, but without losing their original nature. Thus, the listener is projected into a lyrical world, while measuring the gap that separates him from real sources that can often be identified.
Achille et Polixene, tragédie dont le prologue & les quatre derniers actes
Achille et Polixene, Jean-Baptiste Lully's last opera, premiered on 7 November 1687, eight months after Lully's death on March 22 of that year. Since the composer had only finished the overture and first act, the score was completed by Pascal Colasse, Lully's secretary and student, to a text by Jean Galbert de Campistron based on events in Virgil's Aeneid.
Achilles. An opera.
John Gay is credited with inventing the ballad opera, a genre that blends spoken plays and previously composed songs to new texts. Although The Beggar’s Opera (1728) was his most successful endeavor, he continued to compose English musical dramas. Achilles was finally performed in 1733, one year after Gay died. In this story, Achilles appears as a girl named Pyrrha, unknown to most of the inhabitants of the island of Scyros, in order to circumvent a prediction that he will die in battle. Deidamia (the king’s daughter) knows the secret, however, because she is carrying the disguised man’s child. After Achilles’s identity is revealed, he and Deidamia are able to wed. Then, in a fateful twist of irony, Achilles plans to join the Greeks in the Trojan War.
Acis and Galatea
This is a ca. 1743 score of Acis and Galatea, a musical masque (also considered an English pastoral opera) by Handel to a libretto by John Gay. The performance forces include: oboes (2), flauto [recorder], violins, basso continuo, and chorus of mixed voices (mostly soprano, three tenors and bass) and vocal soloists. On the front cover the name Morgan appears imprinted on a red stamp with golden ornaments and letters. The names Anna Maria [Lawes] and Mary Anne Morgan were written at the top of the title page and the inscription, "the gift [of] her uncle T. Morgan, 1808." Underneath the dedication: WH London, 1890.
Acousmaclarine
Recording of Jean-Louis Poliart's Acousmaclarine. This work consists of two recordings: one of the electronic tape only, the other of the electronic tape and bass clarinet performance on top. This work is a counterpart to the 1980's piece "Contrephase" and has an opposite approach to the relationship between the electroacoustic montage and clarinetist.
Acousmatek
Recording of Didier Simione's Acousmatek. This is a work about the distribution of U.S.T. over time and across different spaces and includes 3 parts: 1. deep space, 2. near space, 3. return to the initial space. The composer attempts to prioritize the emotional aspect over the intellectual aspect of the music.
The Acoustic Painter
Like colours, the sounds are composed using a keybord like brush and time like canvas. The work has two parts: first the painter freely paints an abstract subject and second he compose a defined subject. This work was originally composed for voices, bassoon and tape but this is the unique realization. The sounds were generated using additive, frequency modulation, ring modulation synthesis and sampling.
Across the Evening Sky
"Across the Evening Sky" consists of sustained, slowly changing sonorities and pedal figures which gradually evolve across a variety of registers, densities and intensities. Formal cohesion is achieved via a process akin to isorhythm, wherein large-scale repetitions occur at varying rates, thus resulting in ever-changing juxtapositions of material. The composition was realized at the computer music studio of Northwestern University in the winter and spring of 1987, and received its premiere at Dartmouth College in October of that year.
Act of Opening
"Act of Openings" is a stereo composition made with Moog analog synthesis modules. Composed in 1968, its duration is 17'27. The score of the composition is a dense and modulated sound characterized by carefully controlled phase relationships. All the rhythmic and harmonic elements of the piece derive energy from a long, brilliant sound. Each part of the room is another glimpse of this sound, as a set of flowers form a bouquet. "Act of Openings" received the 2nd Prize at the 1969 Dartmouth International Electronic Music Competition.
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.
Actualitanie
Recording of Serge Bouc's Actualitanie. This is a work for electronics that contains various samples of spoken word.
Acuerdor por Differencia
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 …
Acufenos V
Recording of Alcides Lanza's Acufenos V, for trumpet, piano and electronic sounds. Written in 1980 for the trumpet player Robert Gibson, who did the premiere performance at Pollack Hall, Montreal, with the pianist with Alcides Lanza at the piano. The tape part of Acufenos V was made from sounds of recorded trumpet, with a diversity of mutes and styles of playing, and electronic imitations of the same sounds. Acufenos is a Spanish medical term meaning "tinnitus" (tinnitus: from the Latin ringing, French tinnitus or acuphene. It is the past participle of "tinnire", to ring: a sensation of noise (as a ringing or roaring) that is purely subjective. With the carapace of a porcupine type of animal. The tape part was realized at the electronic music studio, McGill University, Montreal, and finalized at the private studio of the composer (Shelan Studios).
Ad Nilo
Recording of José Manrique's Ad Nilo. This is a work for electronics.
Ad vitam aeternam
Recording of Michel Tetreault's Ad vitam aeternam. This work is for electronics and pre-recorded sound. By using traditional electro-acoustic technique certain effects have allowed for pre-recorded sound fragments to transforms and change throughout the piece. While listening to these sound, fields recording of differing sonic environments are playing.
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