Mnemothèque Internationale des Arts Electroacoustiques - 1,295 Matching Results

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1...789

Description: Haris XANTHOUDAKIS: 1 ... 789 It is the setting to music (of the "setting in rhythm", more precisely) of two Greek texts talking about the French revolution and illustrating two opposite aspects of its impact in Greece, still occupied by the Turks, of the end of the seventeenth century: a "Patriarchal letter" (sort of circular of the Patriarch of Constantinople, to read in the Orthodox churches), condemning the French who "practiced the fraticide, killed their king and lost their faith in God" (in this order) and, on the other hand, a poem by Antonios Martelaos (1754-1818), congratulating the French for having shed blood for the freedom of the people. The first text is played at the beginning and end of the song (phonetically reversed and in a normal voice, respectively). The other forms slowly, parallel to a rhythmic accompaniment, of "disco" nature. This double reconstitution will be done in steps of proportion 1: 2: 3: ...: 7: 8: 9. A portion of this proportion, namely 1: 7: 8: 9, serves to generate an interval pattern (semitone, fifth, sixth minor, sixth major) that appears in both its sequential and simultaneous forms. Repetitive music, "disco" music, serial music, for a piece that wants to celebrate a bicentennial, its contradictory way, while keeping its distance.
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Date: 1989
Creator: Xanthoudakēs, Charēs
Partner: UNT Music Library

3 elektronische Studien

Description: 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).
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Date: 1975
Creator: Voigtländer, Lothar, 1943-
Partner: UNT Music Library

3 for 5

Description: Recording of Richard Zvonar's 3 for 5 for percussion, performed by Daryl Pratt. The piece is divided into three movements, with a different set of instruments for each. These are set up in three locations, which form an arc left to right across the performance area. Four playback speakers are situated beside and between the three playing locations. The tape sounds are entirely derived from recorded sounds of the percussion instruments. Throughout the piece, the live and recorded sounds continuously diverge as the piece progresses until at the end, the original sounds have been greatly expanded and enriched through speed transposition, mixing, filtering, etc.
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Date: 1979
Creator: Zvonar, Richard
Partner: UNT Music Library

6 electronic preludes

Description: Recording of Bohdan Mazurek's 6 electronic preludes for tape.
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Date: 1981
Creator: Mazurek, Bohdan
Partner: UNT Music Library

7 Confusongs

Description: Recording of Carl Stone's 7 Confusongs.
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Date: unknown
Creator: Stone, Carl, 1953-
Partner: UNT Music Library

11 september

Description: Recording of Carl Bergstrøm-Nielsen's "11 september." The text is from a document called "What is MIR?" which was sent out illegally in Chile in 1974 and from the appeal of MIR two years after the taking over by the junta, on September 11, 1975. A left-wing party, MIR stayed in Chile in order to contribute as efficiently as possible to the building of the opposition. Other sound material also includes sounds from a typewriter and a demonstration at Bastad, Sweden in September 1975 at a tennis match between Sweden and Chile with more than 4,000 participants. The text is taken in small excerpts from the document in Spanish, English, Swedish, Danish, French, Dutch, and Icelandic. The piece consists of three sections overlapping each other gradually, which shows the relationship between the spoken words and the immediate danger connected with that text. The first section "as a spontaneous statement," deals with the document at its direct background: the silence is broken, in spite of the danger connected with the writing, manifolding papers that criticize the politics and methods of the junta and discuss the strategy of the opposition. The second section deals with the document as a medium of discussion. At the end of this section, the "media-environment," "almost as a magazine on foreign affairs," is broken by shouts from the demonstration at the Bastad which were heard directly in Chilean TV. The third section is about the appeal of MIR as a direct request to the audience: to isolate the junta through a boycott of Chilean products and through demanding from national politicians to break the silence which has long been maintained, among other places in the United Nations of which Chile is still a member. Inspiration for the piece came from the composer's participation in the activities of the ...
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Date: 1977
Creator: Bergstrøm-Nielsen, Carl
Partner: UNT Music Library

E 15

Description: Recording of Peter Kolman's E 15.
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Date: 1974
Creator: Kolman, Peter
Partner: UNT Music Library

96

Description: Recording of Sten Hanson's 96. "According to Amnesty International, there are 96 countries in the world that have political prisoners. In most of these countries, there is clearly physical or mental torture that is punishable by law and unlawful killings." Sound material includes sounds of doors shutting, locks locking, bells, ringing, etc.
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Date: 1980
Creator: Hanson, Sten, 1936-2013
Partner: UNT Music Library

950 for Bob

Description: Recording of Terry Setter's 950 for Bob. He describes this style of composition as "focusless music," which is structured in such a way that the listener always hears an undifferentiated sound continuum, making the smallest changes noticeable. The title refers to the length of the piece (950 seconds) and to Robert Ericksson, to whom the piece is dedicated.
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Date: 1980
Creator: Setter, Terry
Partner: UNT Music Library

1789 Libegal FRA

Description: 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.
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Date: 1989
Creator: Patachich, Iván
Partner: UNT Music Library

Abominable A

Description: 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.
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Date: 1978/1980
Creator: Ceccarelli, Luigi
Partner: UNT Music Library

Abracadabra

Description: Recording of Edmund Cionek's Abracadabra.
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Date: 1976
Creator: Cionek, Edmund
Partner: UNT Music Library

Les Accords d'Helsinki

Description: Recording of Trevor Wishart's Les Accords d'Helsinki for tape.
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Date: 1980
Creator: Wishart, Trevor
Partner: UNT Music Library

The Acoustic Painter

Description: 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.
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Date: 1988
Creator: Pedrazzi, Marco, 1959-
Partner: UNT Music Library

Adagio

Description: Recording of Raoul de Smet's Adagio. For this work the composer had proposed harmony and relaxation "before anything else.” From there, a slow and steady tempo and very simple form. The sound material is provided by twelve ordinary sound generators. The work begins with a chord in the treble, slowly emerging from the silence or void sound and sustained by a regular pulsation in the bass, the result of differential sounds. Then several new sounds are added while others change timbre, octave, or dynamics causing different sounds of other types. During a slow rise in crescendo, short glissandi roam and decorate the sound space until the climax is reached. A sound column, containing twelve frequencies, comes to rest for about a minute, allowing the ear to move in the audience and thus capture the sound shimmer. This passage is the opposite of the sound of nothingness and could thus appear as a sound universe where one could also lose the notion of time. A brutal blow breaks this sound column like a spring too long stretched. This universe collapses slowly to retreat into the depths of the sound nothingness from which it came. The work was realized on an analogue support at the IPEM in Ghent in 1975.
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Date: 1975
Creator: De Smet, Raoul
Partner: UNT Music Library

Adagio

Description: Adagio is, as the title suggests, cast very much in the tradition of the late-Romantic symphonic slow movement, with its carefully measured pacing combined with a dramatic use of weight and drive. In particular, Adagio has a special relationship with the slow movements of Mahler's symphonies, this relationship being present at different levels and to different degrees at various points in the piece, ranging from the use of generally expressive gestures to explicit 'quotations' (particularly from the Andante of the Sixth Symphony). Perhaps the most easily perceived Mahlerian trait in Adagio is the use of randomly struck cowbells which permeate the Sixth and Seventh Symphonies. Adagio was composed in the summer of 1985 in the Electroacoustic Music Studios of the University of Birmingham. It won the EMAS/PRS prize in 1986.
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Date: 1985
Creator: Lewis, Andrew, 1963-
Partner: UNT Music Library

Adieu à Terez

Description: Recording of László Király's Adieu à Terez. “The sound material of the composition is a female voice modulated by various electronic means. The composition consists of 3 parts: 1) The enchantment of Terez, 2) The dream at dawn 3) Farewell The first part is based solely on the modulation of the voice. The beginning of the second part consists of an indiscernible speech and vocal music, which becomes more and more discernible. The third part remains on the contrast of voice and vocal music. For me, the essential was the contrast and the correspondence and the emotional effect the different timbres of sound.” - László Király, composer
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Date: 1978
Creator: Király, László
Partner: UNT Music Library

Adieu petit prince

Description: Recording of Ton Bruynèl's radio composition on the theme of "Le Petit Prince" by Antoine de Saint-Exupéry, "Adieu petit prince." The text of the composition is partly taken from a critical analysis of the children's book entitled "Fantaisie et mystique dans le Petit Prince" by Yves le Hir. The piece was commissioned by the Netherlands Broadcasting Foundation.
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Date: 1982
Creator: Bruynèl, Ton
Partner: UNT Music Library

Adjö

Description: Recording of Jukka Ruohomäki's Adjö. Sound material is all electronic sounds from the animation picture "Electric Bird Garden" (1974, manuscript by Marja Vesterinen, directed by Antti Kari). The piece was premiered at Young Nordic Music Festival (UNM) in the Temppelinaukio Church in Helsinki on 28 February 1975.
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Date: 1974/1975
Creator: Ruohomäki, Jukka
Partner: UNT Music Library

L'agrippe des droits

Description: Recording of Henri Chopin's L'agrippe des droits. One male voice reads the poem which is then electronically processed. Written for Christian Clozier. Henri Chopin's "Audiopoems" was originally realsed on cassette by Edition Hundertmark as 89. Karton in 2001. Only 500 copies were released.
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Date: [1980, 1995]
Creator: Chopin, Henri
Partner: UNT Music Library

Aguiro

Description: Recording of Stefan Beyst's Aguiro for tape.
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Date: 1974
Creator: Beyst, Stefan
Partner: UNT Music Library