UNT Music Library - 4,184 Matching Results

Search Results

Note: All results matching your query require you to be a member of the UNT Community (you must be on campus or login with university credentials for access).

Contratempo senza Tempo

Description: Recording of Juan Amenábar's Contratempo senza Tempo. This piece is a sequential structure, not linked to any argument, idea or literary theme, in which the successive appearance of different elements operates as the development of the sound material. This sound comes from the combination of alternating sounds produced by generating electronic and or mechanical phones until certain levels for each sequence are reached, presenting one of the basic concepts of composition upon which the work is based.
Date: unknown
Creator: Amenábar, Juan, 1922-1999


Description: Recording of Zoltán Pongrácz's Sesquialtera for two-channel tape. Title taken from the name of an organ register that coincides with the proportions Pongrácz uses to create sound material (by multiplying each Hertz with 3 and 5). The proportions effect the range of pitches, as well as rhythm, movement, and form. All of the sound material is synthesized. The piece was composed in the studios of Hungarian Radio in 1979 with the collaboration of István Horváth, sound engineer.
Date: 1979
Creator: Pongrácz, Zoltán


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.
Date: 1974/1975
Creator: Ruohomäki, Jukka


Description: Recording of Zoltan Pongrácz's Barisphère. The work Barisphère is the central part of a cosmic series in three parts: Luna IX, Barisphère and The Big Bang. Its title refers to the central core of the earth, consisting of molten iron and nickel, with a diameter of about 30km. The composer's intention was to create, using electroacoustic means, a program music that excites the cosmic imagination of the listener. The sound material is made up of both synthetic and natural sounds rigorously structured by certain mathematical operations. Both rhythmically and formally, the proportions of the work are borrowed from the various measures of the earth. The treatments used are: transpositions, filtering, ring modulations, phase shifts, envelope transformations, feedback, reverberations, etc.
Date: 1975
Creator: Pongrácz, Zoltán

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-


Description: Recording of Hugh le Caine's Dripsody. It is an study for variable speed recorder. It was composed in one night. Le Caine used a recording of a drop of water falling into a bucket, which he re- recorded different speeds, obtaining the heights of a pentatonic scale. Using 25 connectors and the variable speed tape recorder, it produced thousands of sound effects. Dripsody begins with the original sound of the water drop, repetition loop. Shortly afterwards, by adding more loops, the density of the sound increases and an arpeggio figure is produced. The complete work, lasting one minute and twenty-six seconds, was finished at 7.30 am, and Le Caine played it for those who arrived at the laboratory.
Date: 1955
Creator: Le Caine, Hugh, 1914-1977

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-

Création mondiale

Description: Recording of Jacques Diennet's Création mondiale. This piece is a synthetic prelude with a classic form. The composer used wide sound tracks/slides to spread concrete and electronic sound plates.
Date: 1976
Creator: Diennet, Jacques

Six meditations

Description: Recording of Andrzej Dutkiewicz's Six Meditations for electronic sound and piano performed by Dutkiewicz, piano. The electronic sounds are based on the sound material of the piano (mainly non-conventional sounds) that are electronically transformed by use of filters. Realized in the Polish Radio Experimental Studio in Warsaw.
Date: 1978
Creator: Dutkiewicz, Andrzej, 1942-


Description: Recording of Julio Martín Viera's Skolyon. The piece was composed using the ARP 2600 synthesizer among other analog technologies.
Date: 1975
Creator: Viera, Julio Martín

Slow Field

Description: Recording of Stephen Montague's Slow Field. The primary sound was recorded from a toy organ and altered by means of filters, etc. The work employs heterodyning (using an electronic circuit to combine an input radio frequency with one that is generated in order to produce new frequencies) and the use of vari-speed near the end.
Date: 1975
Creator: Montague, Stephen

Dance for Sarah

Description: Recording of Arthur Kreiger's Dance for Sarah. This piece explores a rich palette of electronic sounds - sounds whose timbral elements are in a constant state of flux in contrast to those which appear in a more steady - state fashion - sounds that utilize the upper registers of the spectrum set against those giving emphasis to the bass tessitura - sounds played in the most delicate pianissimo opposing those of a loud and raucous character. The form of "Dance for Sarah" is a modified ternary structure. The middle section closes with a crashing glissando that is followed by silence. A quiet high-pitched envelope emerges from this silence opening the final section of the piece while creating an aural reference to the beginning gesture of the composition. The final section contains a noisy, flamboyant climax. The energy of this climax is soon spent ant the piece gently fades.
Date: 1976
Creator: Kreiger, Arthur