UNT Music Library - 16,315 Matching Results

Search Results

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.
Access: This item is restricted to UNT Community Members. Login required if off-campus.
Date: 1989
Creator: Xanthoudakēs, Charēs

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).
Access: This item is restricted to UNT Community Members. Login required if off-campus.
Date: 1975
Creator: Voigtländer, Lothar, 1943-

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.
Access: This item is restricted to UNT Community Members. Login required if off-campus.
Date: 1979
Creator: Zvonar, Richard

4 Piezas Instrumentales

Description: For being the round world, who walks away in the East looking for new landscapes, after many trips and adventures he will return to the starting point from the West ... perhaps without wanting to or looking for it. By listening to these 4 instrumental pieces, you will think that they consist of an interpretation made for traditional music instruments. However, for me, the composer is nothing but a new experience in the field of technological music. In this case the experimentation consists of a program that improvises, plays, exchanges in many different ways an initial succession of tones giving rise to very different sound tissues. It is an experiment of the same complexity and quality as others that I have used in the past and that have given me totally different sound results. In this case the experimentation uses shades of defined and adjustable height, creating clear intervalic, acordic, polyphonic organizations, etc. In this domain, a similarity with instrumental music is inevitably obtained. I did not want to avoid this reality using bands of noise or continuous changes of harmonicity, but, on the contrary, I highlight the winter using homogeneous sounds that parody some known acoustic instrument. The four instruments chosen are: Trumpet, Marimba, Voice and Guitar. These instruments are presets of the Yamaha DX7II with all its advantages and disadvantages. I chose a solo arrangement for each extremely sharp instrument in terms of interval discourse and thus obtain a better appreciation of the different games, canons, permutations, dynamic levels, ornamentations, etc., which developed the program. Each in semitones. The scores corresponding to the pieces of Trumpet, Marimba and Guitar are recorded on diskettes, constituting "tapeless music", bone music that can be played directly by operating the computer to the digital synthesizer. The vocal piece has been made in ...
Access: This item is restricted to UNT Community Members. Login required if off-campus.
Date: 1989
Creator: Asuar, José Vicente, 1933-

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 ...
Access: This item is restricted to UNT Community Members. Login required if off-campus.
Date: 1977
Creator: Bergstrøm-Nielsen, Carl

E 15

Description: Recording of Peter Kolman's E 15.
Access: This item is restricted to UNT Community Members. Login required if off-campus.
Date: 1974
Creator: Kolman, Peter

[35 Denton Music Festival poster]

Description: Poster advertising the 35 Denton Music Festival on March 8-11, 2012, in Denton, Texas. The poster features an illustration of a cyclist in the foreground, two cyclists and a van in the background, and the event title and details in orange and brown text in the upper left quadrant of the image.
Date: 2012
Location Info:

[35 Denton Music Festival poster]

Description: Poster advertising the 35 Denton Music Festival on March 8-11, 2012, in Denton, Texas. Poster features an illustration of a vertical bookcase filled with books and other objects, on which the names of the participating bands are printed. Event dates and wristband/ticket information is printed across the top of the poster and sponsor names/logos are printed across the bottom of the poster. Headlining bands were The Jesus & Mary Chain, Built to Spill, Bun B, Best Coast, The Mountain Goats, OM, The Raincoats, Devin the Dude, Atlas Sound, and Dum Dum Girls. The festival included over 150 acts.
Date: 2012
Location Info:

[35 Denton poster]

Description: Poster advertising the 35 Denton Music Festival on March 11-13, 2016, in Denton, Texas. Poster lists the participating bands in a block of text above an illustration of various animals as musicians over a background of multicolored geometric shapes and radiating yellow lines. Headlining bands included Charles Bradley and His Extraordinaires, Biz Markie, and Eliot Sumner.
Date: 2016
Location Info:

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.
Access: This item is restricted to UNT Community Members. Login required if off-campus.
Date: 1980
Creator: Hanson, Sten, 1936-2013

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.
Access: This item is restricted to UNT Community Members. Login required if off-campus.
Date: 1980
Creator: Setter, Terry

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.
Access: This item is restricted to UNT Community Members. Login required if off-campus.
Date: 1989
Creator: Patachich, Iván

[1st Annual 28th Fest poster]

Description: 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.
Date: 2013
Location Info: