UNT Music Library - 26 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).
Faculty Recital: 1988-03-22 - Jeannine Crader, soprano
Faculty Recital performance at UNT's College of Music Concert Hall
Ensemble: 1989-04-21 - Symphony and Chamber Orchestras
Orchestra concert performed at the UNT School of Music Concert Hall.
Ensemble: 1987-11-10 - Collegium Singers and Garza-Little Elm Consort
Choir concert performed at the UNT College of Music Recital Hall.
Guest Artist Recital: 1988-04-19 - Eldon Matlick, horn, and Duncan Macmillan, piano
A guest artist recital performed at the UNT College of Music Recital Hall.
Ensemble: 1988-11-30 - Women's Chorus
Choral concert performed at the UNT College of Music Concert Hall.
Faculty Recital: 1989-09-12 - Fall Convocation
A faculty recital performed at the UNT College of Music Concert Hall.
Guest Artist Recital: 1989-10-12 - Elaine Cormany, soprano
A guest artist recital performed at the UNT College of Music Recital Hall.
Doctoral Recital: 1988-04-18 - Grace Fan, piano
Recital presented at the NTSU School of Music Concert Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Ensemble: 1988-04-21 - Symphony Orchestra and Chamber Orchestra
Orchestra concert performed at the NTSU School of Music Concert Hall.
Dictée
Recording of Bernard Gagnon's Dictée for tape. The majority of the material was executed in real time. The instruments used are voice, a pencil, and also a few oscillator sounds. An oscillator provided a wave that was delayed by tape, and then turned into a voltage to modulate the early sound: a self-modulating delay loop. The piece is a reflection on the anxiety of first learning to write as well as on the degrees of the distances of the writing. The dictation comes from a loudspeaker, while the writer's reactions and his perception of the loudspeaker are captured on the other channel using a microphone. We hear in succession and by degrees of writing: 1. The dictation only. 2. The presence of someone who listens. This presence is signaled by a microphone feedback on the other channel and then a cough. It is good here to specify that the feedback effects are voluntary and controlled. 3. The message changes channel because it becomes the pencil noise of the writer. 4. The transformations that the message undergoes as well as the act of writing of the character who, one realizes, dictates himself. 5. Echoes of his reactions, a kind of subjective consciousness. The subject is played with pencil. 6. Transformations of its same reactions. 7. A kind of connivance gun between dictator and dictation. 8. Bursting of personality.
Son recif
Recording of Jacqueline Ozanne's "Son recif" for voice and tape. This piece comes from a work on the myth of the sirens and includes texts written on this theme in their original languages. As the singer/speaker repeats the story, it is crossed by the sounds of these languages, by songs that cannot continue, as well as successive states of emotion. The electroacoustic tape plays a constant dramatic role: sometimes worrisome, sometimes reassuring, sometimes enveloping presences, it continually influences the interpreter in their vocal and dramatic production. The performance includes a video projection.
Coversations
Recording of Werner Kaegi's Conversations: Partie 3: Vers d'autres jeux.
Des nombres et des mots
Recording of Louis Chretiennot's "Des nombres et des mots." The piece begins with a man reciting numbers 1-10 in French; after the first reading, electronic manipulation is added.
Manu militari
Recording of André Luc Desjardins's "Manu militari" for tuba and tape.
Pourquoi t'as jeté ta pantoufle?
Recording of Xavier Garcia's "Pourquoi t'as jeté ta pantoufle?" ("Why did you throw your slipper?"). Garcia asks the listener to do two things when listening to the piece: to pervert your listening and to find drama where there is none. To is done through both concrete listening (identifying the surrounding sound world, hearing external noise and understanding the "clues" -- this sound is read as the index of a causality.) and abstract "reduced" listening (listening to the thing for itself, detached from its causal context -- a sounds characteristics, height, dynamics, articulations). Therefore, in the piece there is always a constant misunderstanding between listening to the counterpoint of different "ways" and listening to a casual reference anecdote. In addition, the ambiguity lies in the fact that the sound data that constitutes the anecdotal reference is also one of the melodic paths of counterpoint. The piece was realized in the G.R.M. studios in February and March 1981.
Pot Pourri
Recording of Alain Thibault and Marcelle Deschenes's "Pot Pourri," a reduced version of the multimedia work OPERAaaAAH.
Sensors IV
Recording of Alcides Lanza's Sensors IV performed in 1984 by the McGill Concert Choir, conducted by Christopher Reynolds. The tape was realized at the Composer's studio (SHELAN Studio) and McGill University EMS in Montreal, QC, Canada. The piece explores different techniques of vocal wiring, especially the relationship of semantics, languages, and memory. The word "Memory" constitutes the entire text for the piece - using letter sound, recombinations of the word, and adding syllables from other languages that share similar etymology. Recording of the word "memories" -- Meg Sheppard's voice -- is used in the realization of the piece.
Rosaces 4
Recording of Jonty Harrison's Rosaces 4 for four amplified voices, stereo fixed medium and four-channel tape. For the tourist, Notre Dame de Chartres may be just one more 'sight' amongst the gothic cathedrals of northern France, only notable perhaps for having more of its original medieval glass than most of the others. But why are the three rosaces (rose windows) at the Chartres considered by experts to be amongst the hour greatest ever produced? Why is the building 46°54' off the normal west-east orientation for a medieval church? Why are there no sculptures and no graves within the building? And how was a relatively small community able to erect, in only twenty-six years and with no interruptions, a cathedral with the widest known gothic vault, when work on cathedrals in wealthier cities was interrupted for lack of funds? Could it be that the outward beauty and perfection of the building are the result of something else, something hidden.....? Rosaces 4 was commissioned by Elms Concerts with funds made available by the Arts Council of Great Britain. The stereo and four-channel tapes were made in the Electro-acoustic Music Studio, University of Birmingham.
Que sera Sarah ?
Recording of Daniel Tosi's "Que sera Sarah ?" It is a piece for piano and magnetic tape
Le grand silence d'un seul oiseau
Recording of Will Eisma's "Le grand silence d'un seul oiseau" ("The great silence of a single bird") for tape. During World War II, a network of 40,000 km of trenches crossed South Flanders and the North of France. Still today, there remains part of these trenches as a long underground tunnel somewhere around Metz and Verdun. The composition represents an imaginary underground journey from Calais to the Swiss border, through the infernal moles, in the gloomy and frightening obscurity of this absurd war. The poem of Ab Van Eyk tells of these horrors: "Someone walks forward, slowly spitting out his lungs, while a bird pass near me, the gas ......... The night shows fiery angels, among the lights of the "no man's land "; until the twilight silence arrives, the great silence of a only bird, just before sunrise raspberry color." The piece was composed and realized in the studio Five Roses in April 1981.
Wals van kwart voor middermacht
Recording of Geurt Grosfeld's "Wals van kwart voor middermacht" for tape.
Naissance et agonie de ma lampe de chevet
Recording of Michel Redolfi's "Naissance et agonie de ma lampe de chevet" ("Birth and agony of my bedside lamp").
Faculty Recital: 1987-09-27 - Harold Heiberg and the Voice Faculty
Faculty recital performed at the NTSU School of Music Recital Hall
Adieu petit prince
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.
L'agrippe des droits
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.
C.A.S.
Recording of Boyko Stoyanov's C.A.S. Stoyanov was inspired by the interpretation of Chopin's Op. 30, no. 1 by the Japanese pianist Rikako Akatsu, performed at the Chopin Piano Competition in Warsaw. In this work, the composer wanted to create a unique form, the basis of which provided by the electroacoustic music.