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L'eau et le vent me racontent à l'oreille...
Recording of Karine Dumont's L'eau et le vent me racontent à l'oreille.... This work was inspired by Georges Sand's text in which the Master Ringers listen to what the water and the wind tell them. The composer poses the question of what the rain would say if it was given a voice and explores all the possibilities. The composer supposes that "they just grant us the right to listen and listen to their story".
L'eau sourd, bruit, chante
Recording of Pierre Mariétan's L'eau sourd, bruit, chante. This is a work for electronics that includes sounds of water.
Ebb
Recording of Frank Ekeberg's Ebb. This work was inspired by the grey and rainy summer in London, 1998 as well as the overall strange and unpredictable seasons in recent years. The composer dedicates the work to those fighting against the exploitation and degradation of the world's natural resources.
Ebb and Flow
This piece was created on the composers' Desktop Project Computer Work station, over the space of about 10 weeks, and lasts just over 11 minutes. This piece draws on six basic sound sources. Five of these are purely synthetic, whilst the last is the recorder sound of a breaking twig. All but one of the synthetic materials was f-generated by a method of granular synthesis via fractal organisation, using software, which I developed in the summer of 1989. The hope is that this technique gields sound whose inner vitality approaches the illusive richness of the natural sound world. Synthetic and natural sound sources are also subject to spatial processing, using software which I wrote whilst the work was under way. This piece was first performed in December 1989 at Keele University.
Echo
Recording of Ross Harris's Echo performed by Mary Robbie, trumpet. The work is for solo trumpet and tape delay, which has the effect of producing "canonic echoes" of the solo voice. In concert performance, the two channels of delayed sound are to be placed outside the performance area, there by expanding the space, and the performer's sound appears to move out from the player and away into the distance. The piece was written for Mary Robbie, who performs it in this recording.
Echo et Narcisse, drame lyrique en trois actes
After the resounding success of Iphigénie en Tauride (1779), Gluck set out to compose his last of the seven Paris operas, which turned out to be his final opera. Whereas Iphigénie en Tauride is often considered Gluck’s best opera, its immediate successor, Echo et Narcisse (1779) was ill-fated and quickly disappeared from the repertoire. Echo was premiered a mere four months after Tauride, and the Parisian audience was not prepared for the differences between these two operas. Although the music resembles that of his other French operas, the pastoral story lacks the dramatic intensity that viewers expected in a Gluck opera. Thus, the serene music—though it is at times quite beautiful— lacks dramatic impulse.
Echoes
Recording of Beatriz Ferreyra's "Echos" with vocals by Mercedes Cornu. The piece was made from the "destructuration" of four Latin American songs: two Argentinian and two Brazilian. Cornu uses a variety of vocal sounds (long and short sounds, breaths, coughs, etc.).
Echoes II
Recording of Tomasz Sikorski's Echoes II.
Echoes of Home: All the way from Ireland
Recording of Sylvi MacCormac's Echoes of Home: All the way from Ireland. The composer describes this work as a portrait of a family that includes the voices of several members of her family. Each family member speaks a different text that are then overlapped with each other as well as other sounds.
Éclats
Recording of Marc Lawton's Éclats. This is a work for electronics.
Les éclats de l'abime
Recording of Călin Ioachimescu's Les éclats de l'abime. For acoustic instruments and electronics.
Eclats de voix
Recording of Robert Normandeau's Eclats de Voix. This piece is made up of five sections: Play and Rhythm, Tenderness and Timbre, Anger and Dynamics, Sadness and Space, and Joy and Texture. The sections represent childhood states and a corresponding parameter. The fragmentation of the voice into little shatters is augmented by the connotation of child's sudden anger.
Eclipse
Eclipse reflects the ongoing interest of the composer in evolutionary processes as models for musical ideas evolve simultaneously, but their evolution also reflects their interaction with each other. There are areas of predominance for the different musical entities and periods during which each is dormant. The large scale form of the 20 minute piece is in two halves of almost equal duration. The first half is itself in two parts during each of which a different type of musical element is predominant. In the second half of Eclipse there are more struggles for predominance among the materials.
Eco-Ethno-Polish-Mountains-Music-Spheroid
Recording of Alexander Gabrys' Eco-Ethno-Polish-Mountains-Music-Spheroid. This work is composed of four parts on acoustic material borrowed from recordings of authentic Polish mountain folklore. Despite a very advanced technical and sound transformation, the nature of folklore is highlighting its dynamic character. The sound developed from: "gajdy" (bagpipes), "krzapoki" (goat bells), shepherd's horn, Polish violin, and by a pseudo instrument composed of a kind of whip used to flagellate horses.
Ecorce de lune
Recording of Laurent Soulie's Ecorce de lune. This is a work of mixed music that consists of 8 moments: Uchronia, Shocks, Landscape, Stardust, The colors of dawn, The pendulum, Ephemeris, and Achromia. This work is dedicated to composer and friend of Soulie, Pierre Jodlowski.
Ecoute, écoute!
Recording of Roderik de Man's Ecoute, écoute!. This piece was commissioned by the Fund for the Creation of Music. Ecoute, écoute! was composed at the request of Harry Sparnaay for the occasion of the "Who's afraid of?" project, organized by Iris van der Goot. In this project, prominent contemporary solo works were combined with newly written compositions. Ecoute, écoute! is a tribute to promotors of contemporary music, in this case the renowned bass clarinetist Harry Sparnaay. This prominent musician has fulfilled this role for quite some time and is a source of inspiration for many composers. The opening text of the work describes the almost ritual actions of the musician which often precede the actual playing; these are spoken by Harry Sparnaay's wife, Silvia Castillo. Since Silvia and Harry used to communicate in French during the first stage of their marriage, often using the words "Ecoute, écoute!," the choice of the title was a predictable one. The material used to create the tape part was mostly derived from clarinet samples. This composition was a finalist in the Bourges Competition for Electroacoustic Music in 2000. A recording of Ecoute, écoute! by Harry Sparnaay appears on a CD with new works by Roderik de Man (Emergo) released in November 2001.
[Eddie Daniels Lecture, April 8, 1986: Part 1]
Jazz Lecture Series presentation by Eddie Daniels on April 8, 1986 at 9:30AM at the UNT College of Music. Includes lecture and performance by Eddie Daniels, clarinet, interspersed with questions from the audience.
[Eddie Daniels Lecture, April 8, 1986: Parts 2 and 3]
Jazz Lecture Series presentation by Eddie Daniels on April 8, 1986 at 2:00PM at the UNT College of Music. Includes lecture and performance by Eddie Daniels, clarinet, interspersed with questions from the audience.
[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.
[Eddie Gomez Lecture, February 24, 1987: Parts 2 and 3]
Jazz Lecture Series presentation by Eddie Gomez on February 24, 1987 at 2:00PM at the UNT College of Music. Includes lecture and performance by Eddie Gomez, double bass, interspersed with questions from the audience.
Eddie's Waltz
No. 1 in series "Playmates," "six easy and instructive neat and sweet little pieces." Poem on cover: Playmates are we; Joyous and bright and free! Loved ones are near; Making our lives so Dear! Oh, sweet golden hours, Soon will they fade away! Playmates, playmates, be merry, now, while we may!
Eddie's Waltz
For violin or mandolin and piano. No. 1 in series "Playmates," "six easy and instructive neat and sweet little pieces." Poem on cover: Playmates are we; Joyous and bright and free! Loved ones are near; Making our lives so Dear! Oh, sweet golden hours, Soon will they fade away! Playmates, playmates, be merry, now, while we may!
Eden
Recording of Robert Normandeau's Eden. This work is based on the music composed for the play "L'Éden cinéma" by Marguerite Duras. The stage and concert music were composed in parallel as part of the same fiction but corresponding to different purposes. Given Duras' music, which was filled with instruction, the composer of this work responded to this by playing continuous music in the room. In the concert version sound elements are added to represent different facets of Duras' life.
Edge (Corrugated box)
Recording of Bruce Hamilton's Edge (Corrugated box). This piece also requires stick, vibraphone mallets, brushes, triangle beater, and a coin. The score includes a diagram of the suggested setup which outlines how the speakers, data player, and monitors might be arranged on stage. The piece is comprised of many large sections and subsections, the former usually marked by changes in tempo. The tape part was realized on a Tascam 388 (8-track) tape deck using various synthesizers.
Edge music
Recording of Amnon Wolman's Edge music.
Edison
Recording of Michael Heisch's Edison. This work was created by ​​recording the pops and hisses of various shellac records onto DAT.
Edit for Pauline
Recording of John Cousins's "Edit for Pauline" for tape.
Educating Music Catalogers: The Synergy of Work and School
Presentation for the UNT Music Library 75th Anniversary Symposium. This presentation discusses the education and training of the UNT Music Library's student workers.
Efecto Tango
Recording of Daniel Schachter's Efecto Tango. This work was inspired by the Tango and includes various sound samples of different tangos as well as other concrete sounds. This work premiered at the "El Aleph" auditorium of the Recoleta Cultural Center, during the Week of Electroacoustic Music in Buenos Aires.
Effetti Collaterali
Recording of James Dashow's Effetti Collaterali performed by the clarinetist Phillip Rehfeldt. The composer's first effort in using systematically his concept of AM and FM spectra as inharmonic harmonizations of specific dyads. The specified pitches are made to generate their own accompanying frequencies, generally inharmonic with respect to the pitches themselves, as a result of FM or AM procedures. Each interval or each pitch-pair can generate several possible spectra, but the similarity in sound quality between kinds of spectra quickly reduces to a limited number of readily manageable families of chord-types. These chords are the basis for a variety of musically interesting relationships, and this work represents but one of many possible developments of these kinds of sounds. Effeti Collaterali was commissioned by Francois Bousch who was the resident holder of the "Prix de Rome" at the French Academy for the 1975/76 concert season.
Effetti Collaterali (for clarinet in A and computer generated electronic sounds)
The specified pitches are made to generate their own accompanying frequencies, generally inharmonic with respect to the pitches themselves, as a result of FM or AM procedures. Each interval, or, in fact, each pitch-pair (or if you don't want to limit yourself to the chromatic scale, each pair of arbitrarily decided upon frequencies) can generate several possible spectra, but the similarity in sound quality between kinds of spectra quickly reduces to a limited number of readily manageable families of chord-types. These chords are the basis for a variety of musically interesting relationships, and this work represents but one of many possible developments of these kinds of sounds. The clarinetist in this recording is Philip Rehfeldt.
Egocentric Poem
Recording of Tadeusz Wielicki's Egocentric Poem. For piano and tape. This work is dedicated to Andrzej Chlopecki.
EGT
It is is a piece for guitar electroacoustically processed in real time. The sounds coming from a steel-strings guitar are transformed using two digitalis processors and a mixing desk. In concert, 6 different sound locations are used around the audience, each one with a particular processed sound. All sounds heard on this piece were played and processed live during a concert at the "Musikaliska Akademien" of Stockholm, Sweden, in August 31, 1989. None EQ, editing, overdubs, or an other kind of post-production facilities were used after the live recording.
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.
Eibbed
"Eibbed" (Debbie spelled backwards) is a work that tends to unify classical forms with "created" structures thanks to the similarity of sound. There is no deeply philosophical thought behind Eibbed. The piece has instead been composed on "comfortable" (soothing) sounds for the ear, whether or not familiar with electroacoustic music. The sound sources are based on glasses (different sounds of 2 beer glasses that come in contact, friction, shocks, etc ...), a torn newspaper and electronic music designed and developed on the Fairlight computer. The purpose of the piece is to connect tonality and atonality. It was made to show that I believe there would be much more room for tonality in contemporary works than modern composers allow. We do not do exhaustive studies of tone. Eibbed was composed under the direction of Jonty Harrison in the electronic music studios of the University of Birmingham in May 1984.
Eigenverzeichwisse & Aufstellungen
Envelope containing Oppel's doctoral diploma.
Eight Directions
Recording of Sylvi MacCormac's Eight Directions. This work includes instrumentation from congas, violin, flute, bouzouki, marimba, gong, penny whistle, and bagpipe. The sounds of thunder, rain, and birds are also included and were recorded in Italy.
Eight minimal soundscapes
Recording of Walter Kimmel's Eight minimal soundscapes
[Eighth Blackbird poster]
Poster advertising a concert by Eighth Blackbird, a contemporary chamber ensemble, on November 11, 2015, at Murchison Performing Arts Center, University of North Texas, Denton, Texas. Poster features event details in white text printed over a photographic image of the musicians.
Eisad
Recording of Lionel Filippi's Eisad.
Ejercicio 1
Recording of José Sosaya Wekselman's Ejercico 1. This piece uses samples, sound manipulation, and a synthesizer to create unique melodies and harmonies.
Ejercicio de Impulsos
This is one of the first composed works by Francisco Kröpfl at the Phonology Musical School in 1960. The work was composed with the recording of a series of pure sounds that have frequency ratios determined in the manner of "pure sound chords", sounds which are transformed by a band cut into very small units of a third of second roughly. These sounds are sent to a reverberation chamber where they are transformed into diminuendi of about 8 ".This new way is returned to the same room but in the opposite direction, to obtain in this way a crescendo-diminuendo of about 16". The repertoire of 20 complexes of this type were transported in height, so as to obtain longer and lower sounds and shorter and treble sounds. Francisco Kröpfl composed a free composition with these materials.
El Ejército de la Noche
Recording of Fernando Laub's El Ejército de la Noche. The composer describes this work as two faces of the same phenomenon, where dogs can hear things we can't and we use them to guide our perception and sharpen it. This work explores the mysteries hidden in the night.
Ekphonesis IV
Recording of Alcides Lanza's Ekphonesis IV.
Ekphonesis V
Recording of Alcides Lanza's Ekphonesis V. For actress-singer, lights, and electronic music. This work is rooted in the composer's continuing interest with "memories". This piece explores the "library" of memories, reflections, thoughts, and ideas, supposedly encountered if the soloist could enter the composer's brain. During this "tour of the brain," the "tourist" is confronted with the recollections of the composer, plus her own memories.
Ekstasis
Recording of Peter Tod Lewis's Ekstasis
Ektenes III
Recording of Alcides Lanza's Ektenes III. For clarinet, tape, and digital signal processing. The tape part was realized by recording clarinet tones, multiphonics and short improvised sequences in digital format and then processed utilizing an Akai S1000 digital sampler and the software programs Sound Designer II and Audiomedia II in a Macintosh computer system. all pre-recorded clarinet sounds were performed by Jean-Guy Boisvert.
En el comienzo fue la Palabro
Recording of Daniel Antonio Miraglia's En el comienzo fue la Palabro. This work is based on the rhythmic possibilities of the human language. The author of the work takes advantage of the varied kinds of articulation, which are present on the languages used to compose this work.
En el Infinito
In El Infinito - in his presentation actuel - consists of four variations without theme extracted as lunar stones from a trip to the infinite musical possibilities offered by musical techology. Infinite microtonal, infinite timbres, infinite rhythms, nuances, ornaments, ... Each of these variations explores the immanent expressiveness of this material. In this regard, there is no structural calculation, but an intuition, an improvisation guided by the same material when revealing its expressive potentialities. The form of this work is also infinite, since variations can be added or subtracted without affecting its identity. Currently there are four variations completed but I am working on others. The idea is that each presentation of this work is different according to the variations that are chosen and their ordering.
Elan B
Recording of John Celona's Elan B.
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