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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.
Actualitanie
Recording of Serge Bouc's Actualitanie. This is a work for electronics that contains various samples of spoken word.
The Aeolian Harp
Recording of Heinrich Taube's The Aeolian Harp. This work was created with recorded tape and an aeolian harp, which creates musical sound from air passing through the strings. The composer dedicates this song to their sister, who died of cancer in 1997. The composer says that the piece acts as a reflection of their struggle to come to terms with her death.
Afflux / Reflux
Recording of Colby Leider's Afflux / Reflux. This is a work for electronics.
After the summer rain
Recording of Hideko Kawamoto's After the summer rain. This is a composition for amplified piano and two-channel tape. This work is dedicated to the memory of Clarence Asher Peevey and written for his mother Cecilia Peevey. It was inspired by Rainer Maria Rilke's poems, (Nos Pleurs) and Before the Summer Rain. The work as a whole is meant to capture the image of a summer forest and uses a note motif that closely spells out the name "Clarence".
Agora
Recording of Natasha Barrett's Agora. This work is an installation and a performance involving electroacoustic music, theatre, and the structural use of space. The theatre version of "Agora" is an event where spatial-music is the structural and theatrical driving force. There is one soprano performer but no "acting out". The work extends the aesthetic of the music theatre of Kagel and the consideration of delineated space defined in Oscar Schlemmer's theory of performance.
L'aile de l'abeille
Recording of Denis Dufour's L'aile de l'abeille. This work expresses the idea of coming into a new millennium with a history that has been reconstructed and stigmatized. The composer gives a special thanks to Agnès Poisson for the sound recordings used, This work was produced at Motus studio.
El alma mula
Recording of Jorge Luis Sad's El alma mula. This is an electroacoustic work for cello. This work is dedicated to argentine Cellist Martín Devoto.
Altrove con il suo nome
Recording of Mauro Cardi's Altrove con il suo nome. The text in this work is sampled from "Oggetto d'amore" by Pasquale Panella and the theatric content of the text is reflected in the recording. The sound materials used in the tape is primarily made up of samples from the actress' voice. The piece premiered in Rome in December, 2000 and again in 2001 as part of a larger project.
Ancestral Voices
Recording of John Rimmer's Ancestral Voices. The idea for this composition came from the composers fascination with family history and genealogy, specifically the names of his eight great-grandparents. The composer associated the sounds of eight instruments with each ancestor beginning with New Zealand instruments and moving to other countries around the world. Throughout the work the sound of a women's choir singing the fifth century hymn, Caeli Deus Sanctissime, heightens the sense of ancestry.
Aqua Salutaris auditur
Recording of Bor Turel's Aqua Salutaris auditur. This is a work for electronics that includes water sounds.
Aqua Salutaris auditur part 2
Recording of Bor Turel's Aqua Salutaris auditur part 2. This is a work for electronics that includes water sounds.
Atavi
Recording of Jan Oleszkowicz's Atavi.
Augen aus Blicke
Recording of Rainer Boesch's Augen aus Blicke. This work was created for the Synthse festival in Bourges.
Un autre Printemps
Recording of Francis Dhomont's Un autre Printemps. This work is part of the film "Mein Kino für die Ohren" (My Cinema for the Ears) by Uli Aumüller. This work is an echo of Vivaldi's concerto, "Spring (The Four Seasons) that has been transformed and recycled. The composer thanks viola player, Jean René, for their material.
(b)contained
Recording of Katharine Norman's (b)contained. This is a work for solo clarinet and digital fixed sound and was commissioned by Jane O'Leary/Concorde for Paul Roe to play at the Galway Arts Festival. The electronic material in this piece was created from an initial recording of the note 'b', played by clarinet, while the actual player doesn't get to play a 'b' until the final section of the piece. The composer states that this sound provides a sonic container for the live performer.
Babel de Nuevo
Recording of Antonio Russek's Babel de Nuevo. This work is continuing on a theme based on an earlier piece with the same name and is a culmination of a large-scale piece. This work has been composed with different timbres and a new monumental structure to adapt for its installation on a vertical tower. It premiered at Central Zócalo of Mexico City, XVI Festival of the Historical Center Year 2000.
Beton
Recording of Katharina Klement's Beton. This is a sound installation for 10 loudspeakers that includes 13 tracks. The sound material for this work was collected during several visits to building sites where the sounds of tools and working with concrete was unavoidable. The theme of the work is that of 'concrete' and explores acoustically breaking up the already solidified mass.
Bitter Orchids
Recording of Steven Naylor's Bitter Orchids. This work was created with the support of the Nova Scotia Arts Council. The sound materials in this piece were recorded in northern Thailand and have been transformed to create a sonic fabric of memory and consciousness.
Black Jukebox's tromblon
Recording of César Amiguet Puig's Black Jukebox's tromblon. This work was made for electronics and a variety of concrete sounds.
Bound II
Recording of Michèl Koenders' Bound II. This work was created to be played on 4 tracks from 4 separate speakers. This composition was originally composed for the sculptress, Robin Kolleman, and was part of an exhibition called "Gathering". This exhibition consisted of 5 human-shaped sculptures that each contained a small speaker playing one of the tracks from the piece. Therefore, a central theme in this work is voice and voice manipulation. After the exhibition there was a total make-over of the composition and many sounds have been added to make it into a 4 channel tape.
Chant d'amour sans paroles
Recording of Kazuko Narita's Chant d'amour sans paroles. This piece is made up of purely electroacoustic material and is meant to be played across several loudspeakers.
Circulation
Recording of Junghae Lee's Circulation. This work was inspired by the solar eclipse in 1999 and consists of continuous repetitions of musical ideas. The energetic gesture at the beginning of the piece dissolves over time and is shattered into fragments. In the end, all that remains is a hint of sound.
Cities' drift
Recording of Werner Cee's Cities' drift. The composer describes this work as an area where electroacoustic and choral music meet and interact. Many of the sound materials used in this work were derived from recordings taken during concerts of the "Kamer" choir, including the singing as well as noises before and after the performances.
Ciudades desiertas
Recording of Edgardo Hugo Martinez's Ciudades desiertas. The title of this work translates to "Deserted cities" and is a sonic image that reflects the solitude of what could be habitants of a future city.
Cloy
Recording of Silvia Matheus' Cloy. This work was inspired by the sounds people make that can create judgement from others. The foreground of the composition is the sound of laughter from a woman to bring forward the issues of desire, irony, and female agency to the attention of the listener. The composer took inspiration from the philosophers Aristotle and George Lewis.
College of Music program book 1999-2000 Fall/Spring Performances Vol. 1
Fall/Spring performances program book from the 1999-2000 school year at the University of North Texas College of Music.
College of Music program book 1999-2000 Fall/Spring Performances Vol. 2
Fall/Spring performances program book from the 1999-2000 school year at the University of North Texas College of Music.
College of Music program book 1999-2000 Student Performances
Student performances program book from the 1999-2000 school year at the University of North Texas College of Music.
[Concert Poster: Gutterth Live XXVI]
Poster/flyer advertising Gutterth Live XXVI concert featuring Zanzibar Snails, Geistheistler and Dirty Water Disease on September 19, 2000, at J&J's Pizza in Denton, TX.
Concordance
Recording of Anton Rovner's Concordance. The composer states that in this work the ANS synthesizer attempts to explore the phenomenon of sound and probe its inner structures. The composition has a meditative, introvertive mood but at times switches to a contrasting dynamic.
Currents
Recording of Marek Zoffaj's Currents. The piece Currents explores the area between pitch, timbre and rhythm. Thinking about those three fundamental perceptual poles of music as a interlocked and interdependent sources of musical process was the basic idea at the beginning of composition. Later, using of several models of clarinet gestures and sequences as well as rhythm patterns transformed into different spectral fields, this idea concluded into compositional process and musical form.
Day trip
Recording of John Gibson's Day trip. This piece is a soundscape of a park in New York's Chinatown and includes processed layers of recorded sounds as well as synthetic reinterpretations. In this work the pitches are meant to color the real-world sounds and create musical meaning that doesn't exist in the wild.
Deep Sea
Recording of Michele Biasutti's Deep Sea. The work is a sound trip in the sea’s depths. The aim is transforming the sea sound events, proposing other ways of listening. Starting with the sea sound events, the piece would stimulate human abilities to discover imaginary sea soundscapes, with tracks that people can find in collective memory. The water sounds have a great symbolic value, since all humankind experienced living in the amniotic liquid. The water elements were used to enter in the collective memory’s dimension, transforming the timbres from sound to noise. All the sound material used in the piece was derived from sea sounds. The sea sounds were signal-processed by computer with elaboration such as pitch shift, stretching, filtering and distortion. In this way, the sea sounds became hardly recognizable. The formal development of Deep Sea follows psychological principles, considering the perceptive thresholds for stretching. Elaborations in the low register and polyrhythmic crescendos were used. The composition proposes a new semantic dimension of the water sounds, utilizing a perceptive game between the new framework and the memory’s abilities evoking the original sounds. The premiere performance of Deep Sea was given at ACMC 2000, Interfaces, at Queensland University of Technology in Brisbane (Australia) on July 5, 2000. The piece obtained a Mention at the 28th International Competition of Electroacoustic Music and Sound Art / Bourges 2001 (Section II- 3 category work for electroacoustic and sonic art).
Deepfield
Recording of Mathew Adkins' Deepfield. This work was commissioned by the Césaré Musical Creation Studio at the Reims Planetarium and premiered there in 2000. The sounds in this work come from rocks of various sizes and gas cylinders, creating a sonar exploration of deep space and worlds unknown, inspired by the discoveries made with the Hubble telescope.
Delete "e" unit
Recording of Thomas Cahill-Jones' Delete "e" unit. The ideas behind this piece were rooted in transformations of sound and the juxtaposition of them, which resulted in landscapes of the real, unreal, and surreal.
Desde el Jardín del Tiempo
Recording of Rubén Hinojosa Chapel's Desde el Jardín del Tiempo. This work was created as an homage to John Lennon and the mark that his music has left on more than a generation of young people. It was created from samples of piano by digital sound editing and processing. It premiered at the "VIII Festival Internacional de Música Electroacústica Primavera en La Habana".
Diablorence
Recording of Pierre Mariétan's Diablorence. This work was inspired by the story of Orpheus and Eurydice and portrays the orchestra as the main character of the work. The soloists and the sound engineer process the entire sound world with the goal of being heard as music and only music. The orchestra performing this work is the Orchestre Philharmonique De Radio France, conducted by Laurent Cuniot. The composer also credits Frédéric Antoine as being responsible for the "noises" in the piece.
Dinamicas Expansivas
Recording of Fabián Esteban Luna's Dinamicas Expansivas. This work consists of two sound materials: a series of objects falling onto a hard ground and other sounds that originate in acoustic-instrumentals. The electronics were created with multiple computer softwares: Csound, SoundHack, and Pro Tools.
DMXnébula
Recording of Roxanne Turcotte's DMXnébula. This is a work for electroacoustics that was created to accompany a visual performance. A spherical inflatable structure with lighting and multi-track music was designed for an outdoor event and is meant to represent a gigantic planet. The music on eight tracks is synchronized to the automated lighting and is broadcast continuously over a multi-channel sound system. This piece was commissioned by the Festival Montréal. The themes of this work are: openness, cosmos, celestial, vox, urban, world, night, and day.
Doctoral Recital: 2000-03-20 – Marte Murr-Kennedy, trombone
Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Doctoral Recital: 2000-03-27 – Gabriel Bita, piano
Recital presented at the UNT College of Music Concert Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Doctoral Recital: 2000-04-17 – Todd W. Markey, double bass
Recital presented at the UNT College of Music Concert Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Doctoral Recital: 2000-04-24 – Brendan Kierman, trumpet
Recital presented at the UNT College of Music Concert Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Doctoral Recital: 2000-04-24 – Songyoung Kim, violin
Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Doctoral Recital: 2000-07-03 – Amy Ctibor-Goss, flute
Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Doctoral Recital: 2000-09-11 – Eugenio Righi, flute
Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Doctoral Recital: 2000-09-11 – Eugenio Righi, flute
Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Dreamlike Shudder in an Airstream
Recording of Stephan Dunkelman's Dreamlike Shudder in an Airstream. This is a work for electronics that has been composed for 8 tracks. It premiered in March 2000 during a concert produced by ARTem. The composer gives thanks to Charo, Axel, and Wim for their help in creating the work.
Earth Ascending
Recording of Elainie Lillios' Earth Ascending. This work uses traditional electro-acoustic techniques to create a complex sonic work blending the use of voice and sound processing, consisting of three movements.
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