UNT Music Library - 385 Matching Results

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Suite pour l'Ange

Description: Recording of Michèle Bokanowski's "Suite pour l'Ange" ("Suite for the Angel"). "L'Ange" was the feature film of Patrick Bokanowski, who was Michèle's husband. She wrote the entire accompanied soundtrack for the film. This recording is a part of that soundtrack. (https://en.wikipedia.org/wiki/Patrick_Bokanowski)
Date: 1980
Creator: Bokanowski, Michèle

Eso silencios

Description: Recording of Coriún Aharonián's "Esos silencios" ("Those silences"). "Esos silencios" are the silences of our daily vital experience of the seventies in almost all Latin America. "We do not desire them, but they surround us always, until we finally succeed in breaking them," Aharonián wrote. It exclusively uses materials of microphonic origin. Some of the sounds have been made with instruments constructed in Guatemala by Joaqu’n Orellana. The decision to bring to life the piece at that historic moment was convergent with the emotional experience that the pricking edges of the delicate drawings by the Argentinian-Uruguayan Mar’a Carmen Portela and the gagged yell of the dramatic paintings by the Uruguayan Hilda Lopez. In Esos silencios there is a will to establish large, apparently static, areas, with latent tensions, in a structure of full hard edges, almost without the concession of transitions.The piece was originally composed in 1978 and was revised in 1981. It was realized in Elac, the studio of Montevideo. The materials of departure have been produced by the author
Date: 1981
Creator: Aharonián, Coriún, 1940-

The silent god

Description: Recording of Mauro Graziani's The silent god. It is a sound processing work, no synthesized sounds are involved. The beginning sound materials are sounds often used in religious rites and ceremonies, hence the title. Sound material includes: Japanese gongs, Tibetan and Chinese bells, Tibetan trumpets, gamelan, Indian and Middle-eastern harp, western organ, aeolian harp, voices. Processing includes filtering, time and/or pitch changing, delays, freezing, cutting, and mixing. The work was realized at the Centro di Sonologia Computazionale" (University of Padova) in 1980, using the IBM 4381 mainframe and the MUSIC360 software for digital sound synthesis.
Date: 1980
Creator: Graziani, Mauro, 1954-

Spattering... A shower

Description: Recording of Robert Rowe's "Spattering... A Shower." This piece of computer music focuses on the organization of sound and the process of adopting the medium of a digital computer to produce music compositions.
Date: 1981
Creator: Rowe, Robert, 1954-


Description: Recording of Patrick Fleury's Stalker, an electroacoustic musical piece. The piece consists primarily of computer generated sounds.
Date: 1982
Creator: Fleury, Patrick

DM VS Metal

Description: Recording of Alain Marchal's DM VS Metal. This piece is divided into 3 long parts of 4, 6 and a half and a half minute(s), connected without silence. It brings together percussion elements from different species, played and worked in time: a) a series of objects that do not belong to the violin making (plates, tubes, metal plates), b) a Jazz drums, c) metal instruments from groups a- and b- played and manipulated in the studio at the same time. This first part starts ppp and quickly reaches fff. The second part is composed of a metal percussion with very long resonance and treated in perpetual glissandi. The dynamics are variable. After a final f when we hear the small percussion in its initial state, the percussion of a- and b- of the first part return ffff.
Date: 1982
Creator: Marchal, Alain

The electric sinfonia

Description: Recording of Barton Mac Lean's The Electric Sinfonia. Sound Sources come from a string orchestra and the music for a chamber piano. The basic instrument used is the "FCMI." The expressive range of the ideas of the piece are important, raising the range from an extremely violence to an obsessive beauty. The duality of character is the thread of all the work.
Date: 1982
Creator: McLean, Barton, 1938-

Slow Dance on a Burial Ground

Description: Recording of Stephen Montague's "Slow Dance on a Burial Ground." Inspired by multi-traking and over-dubbling in pop music. Montague plays all various individual parts on folk flutes and log drums, playing at various speeds and other manipulations in an electronic studio to create at virtuosic product, even with modest skills on the instruments. The piece is an exploration in "Romantic minimalism," with its monthematic unfolding of a melody in the dorian mode and static harmony, but also with 18th/19th form influence.
Date: 1983
Creator: Montague, Stephen


Description: Recording of Þorsteinn Hauksson's "Sonata." Hauksson describs this piece as an exploration into the sound world of electronic music. The piece is named Sonata because it's liberal meaning to make sound. The piece was created in May 1980.
Date: 1980
Creator: Þorsteinn Hauksson, 1949-

The difference between a bird

Description: Recording of Peter Plompen's "The difference between a bird" for tape. The piece consists of three parts. The first part was created with a electronic music system. The second part is made with a piano and two microphones. The third part is made with an electronic music system, a piano and a microphone.
Date: 1981
Creator: Plompen, Peter


Description: Recording of Horacio Vaggione's Octuor. Sound material is all computer synthesized. Techniques used include frequency modulation, nonlinear distortion, additive synthesis and wave array synthesis.
Date: 1982
Creator: Vaggione, Horacio, 1943-


Description: Recording of John van Buren's Omion, performed by Monika Hölszky-Wiedemann, violin. "Omion" is the name of an archaic Byzantine melody-form. the piece revolves around the violin melody which interacts with various sound structures and is overwhelmed by a vast sound continuum at the end.
Date: 1980
Creator: Van Buren, John, 1952-

Static arches

Description: Recording of Thierry Lancino's Static arches. The inspiration for this piece dates back to June 1980 when Lancino first crossed the desert in Utah, particularly the Arches National Monument which is an infinite space of massive stone arches carved over time. Apart form the visual connotation, principles of intertwined independent arches is applied to the architecture of the piece itself, as well as tho the "filling" of the quadraphonic space, this helping the appearance of sonic sound holograms. The piece was entirely computer generated. The "Foonly" computer was in interface with a synthesizer-processor in real time called the Samson Box, a prototype which was designed and built by Peter Samson at System concepts in San Franscico. The method of synthesis is the frequency modulation of John Chowning. The compositional algorithms were developed thanks to Bill Schottstaedt's "Pla" program. Static arches was realized in the studios of Computer Center for Research in Music and Acoustics (CCRMA) at Stanford University, California, from November 1980 to March 1981.
Date: 1981
Creator: Lancino, Thierry


Description: Recording of Arsène Souffriau's Fluctuations for electronic tape. The sound material of the piece consists of electronically synthesized sounds that are then manipulated in fluctuations at these levels: frequencies, harmonic spectra, ring modulations, tension voltage control, filter voltage control, various waveforms and attacks, frequency and voltage conversions, and impulses. Equipment used for the realization of the piece includes MOOG Synthesizer (Concertmate), EMS Synthesizer, EMS Sequencer, CASIO Sequencer, EMS Frequency and Voltage Convenant.
Date: 1982
Creator: Souffriau, Arsène, 1926

Extension 1

Description: Recording of Zagorka Zivkovic's Extension 1 created at the Electronic Music Studio in Stockholm. It is the first in a series of works aiming to extend the sound quality of certain live-instruments. This piece focuses on the cello and manipulating the instrument in different ways - from a low degree (transposition) to an extremely high degree (a combination of layerings of loops and permutations through the use of a Buchla synthesizer). These sounds are then juxtaposed with some pieces of the original sound material in order to give depth to the perception of the instrument.
Date: 1982
Creator: Zivkovic, Zagorka

Fabulas, II Parte

Description: Recording of Ricardo Mandolini's "Fabulas, II Parte" ("Fables, second part"). The sound material is made up of both concrete and electronic sounds, often processed. There are two distinct sections to the piece, marked by differences in tempo, rhythmic character, and differences of size. This work is the continuation of the "Fabulas" piece, composed at the IPEM studio in 1979. It was composed and realized at the studio of the Technical University of Berlin in 1980 with technical collaboration by Folkmar Hein.
Date: 1980
Creator: Mandolini, Ricardo, 1950-


Description: Recording of Otto Laske's Terpsichore. The piece is in three movements. The first movement is followed by a set of variations of an equally percussive but more song-like nature. The initial two movements have in common extremely fast, often acoustically minute, streams of sound. In contrast, the third movement is overall slower in pace and more song-like. Throughout, the musical flow is punctuated by silences. It is a work of great contrasts of density, registers, and dynamics that owes its title to the Greek goddess of dance. Terpsichore was commissioned by Massachusetts Dance Ensemble, Worcester, MA, for a choreography by Peggy Brightman (Plexus), under a grant from the MA Council on the Arts and Humanities. It was produced in the Computer Science Department of Toronto University, with the aid of the SSSP synthesizer stationed there. The work was performed at the Joy of Movement Center, Cambridge, MA and is dedicated to the choreographer.
Date: 1980
Creator: Laske, Otto E. (Otto Ernst), 1936-


Description: Recording of Gottfried Michael Koenig's Output for tape. This work emerged during the course of Koenig's systematic investigations into the PRIXM/VOSIM system at the Institute of Sonology in 1979. PRIXM is a computer program for making compositions, then either providing a printout in the form of tables or an audible output via the VOSIM sound system. This system is actually intended to inform the composer about pitch, loudness and rhythmic events - a kind of piano reduction. However, different kinds of sounds can be described, making the reduction sound better or even changing it altogether. Although Koenig was not trying to compose a piece of music, he was inspired by one particular event ( = output); he followed its traces by slightly adjusting the input data, eventually arriving at a sound structure which was both typical and aesthetically satisfying.
Date: 1980
Creator: Koenig, Gottfried Michael