Latest content added for UNT Digital Library Partner: UNT Music Libraryhttps://digital.library.unt.edu/explore/partners/UNTML/browse/?sort=title&start=20&fq=untl_decade:1970-19792024-02-11T11:11:55-06:00UNT LibrariesThis is a custom feed for browsing UNT Digital Library Partner: UNT Music Library[Alvin Crow and the Pleasant Valley Boys poster]2019-01-10T21:32:45-06:00https://digital.library.unt.edu/ark:/67531/metadc1401268/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1401268/"><img alt="[Alvin Crow and the Pleasant Valley Boys poster]" title="[Alvin Crow and the Pleasant Valley Boys poster]" src="https://digital.library.unt.edu/ark:/67531/metadc1401268/small/"/></a></p><p>Poster advertising a concert by Alvin Crow and the Pleasant Valley Boys on September 9, 10, and 11, 1975, at Bigger Than Dallas Club, Lubbock, Texas. Poster by artist Micael Priest features black and white illustrations of Alvin Crow, "Dynamite Diana", "The Texas Kid", and a tour bus driving down a Texas highway. A caption at the top of the poster reads, "Country music for dancin and romancin, guaranteed to put a tear in yer beer!"</p>33.528117 -101.870076Amanecer2019-06-12T21:59:19-05:00https://digital.library.unt.edu/ark:/67531/metadc1506158/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1506158/"><img alt="Amanecer" title="Amanecer" src="https://digital.library.unt.edu/ark:/67531/metadc1506158/small/"/></a></p><p>Recording of José Vicente Asuar's Amanecer. “Amanecer” is formally a very simple work. Through this and other works, I try to project the possibilities of electroacoustic music in a sonorous universe where harmonic intervals prevail and a formal concept not far from impressionism. For a long time I experienced, as other composers have, new possibilities of sound and structure, matter and musical form, with electroacoustic sounds. I have not abandoned the search, but I want to choose some things in works that are simple and easy to listen to for any auditor. This is the reason of being of works like “Amanecer”: a break in the path of a creator.
From a utilitarian point of view, “Amanecer” is thought of as music for ballet, as an introduction to some work of greater encouragement that is still to be written.</p>Amanecer2022-03-06T22:47:14-06:00https://digital.library.unt.edu/ark:/67531/metadc1915579/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1915579/"><img alt="Amanecer" title="Amanecer" src="https://digital.library.unt.edu/ark:/67531/metadc1915579/small/"/></a></p><p>Recording of José Vicente Asuar's Amanecer. Amanecer is a formally very simple work. Through this and other works the composer projects the possibilities of electroacoustic music in a sound universe where harmonic intervals and a formal conceptualization not far from impressionism prevail. The rationale behind works like Amanecer is a break on the path of a creator. From a utilitarian point of view, Amanecer is intended as music for Ballet, as an introduction to some more breathtaking work that is yet to be written.</p>Ambience2018-01-23T07:43:37-06:00https://digital.library.unt.edu/ark:/67531/metadc1062352/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1062352/"><img alt="Ambience" title="Ambience" src="https://digital.library.unt.edu/ark:/67531/metadc1062352/small/"/></a></p><p>Recording of Richard Orton's Ambience. Ambience for solo bass trombone and tape was written for the American Trombonist James Fulkerson and first performed by him in the Wigmore Hall, London, on 17 May 1975. He has since included the work in many recitals during his tours in Scandinavia, Canada and the USA. The title "Ambience" here refers to the imaginative sonic environment surrounding the sounds of the trombone, including the most "artificial," synthesized sounds, instrumental ensembles which incorporate the trombone, and environmental recordings including public sounds we will recognize and share. Within this sonic environment the trombone at times asserts itself, at times merges most imperceptibly, and eventually complements it and achieves a harmonic and dynamic balance.</p>Ambulator Memorensis2021-05-27T11:04:23-05:00https://digital.library.unt.edu/ark:/67531/metadc1808565/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1808565/"><img alt="Ambulator Memorensis" title="Ambulator Memorensis" src="https://digital.library.unt.edu/ark:/67531/metadc1808565/small/"/></a></p><p>Recording of Michael Keane's Ambulator Nemorensis. This piece was put together as a preliminary study for an experimental film by Nicholas Kendall called Tala. While the actual music used in Tala was quite different from Ambulator Nemorensis both are attempts to create an imaginary landscape (or to use Murray Schaefer's term "soundscape").</p>Ambulator Nemorensis2019-06-12T21:59:19-05:00https://digital.library.unt.edu/ark:/67531/metadc1506102/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1506102/"><img alt="Ambulator Nemorensis" title="Ambulator Nemorensis" src="https://digital.library.unt.edu/ark:/67531/metadc1506102/small/"/></a></p><p>Recording of David Keane's Ambulator Nemorensis. "Ambulator Nemorensis" was put together as a preliminary study for an experimental film by Nicholas Kendall called Tala. While the actual music used in Tala was quite different from “Ambulator Nemorensis” both are attempts to create an imaginary landscape (or to use Murray Schaefer's term "soundscape"). This piece is an honest attempt to create something beautiful.</p>American Bandmasters Association, Arlington, TX, 19722018-04-04T07:03:49-05:00https://digital.library.unt.edu/ark:/67531/metadc1125393/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1125393/"><img alt="American Bandmasters Association, Arlington, TX, 1972" title="American Bandmasters Association, Arlington, TX, 1972" src="https://digital.library.unt.edu/ark:/67531/metadc1125393/small/"/></a></p><p>Group photo of attendees of the 1972 American Bandmasters Association meeting in Arlington, Texas. The group, which may be entirely composed of men, appears to be standing on choir risers, with a smaller row of men seated at the front. This photo is from the Don and Barbara Gillis Collection.</p>Analogias paraboloides2018-01-23T07:43:37-06:00https://digital.library.unt.edu/ark:/67531/metadc1062142/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1062142/"><img alt="Analogias paraboloides" title="Analogias paraboloides" src="https://digital.library.unt.edu/ark:/67531/metadc1062142/small/"/></a></p><p>Recording of Pedro Caryeyschi's Analogias paraboloides.</p>Andere die Welt, sie braucht es2018-01-23T07:43:37-06:00https://digital.library.unt.edu/ark:/67531/metadc1062106/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1062106/"><img alt="Andere die Welt, sie braucht es" title="Andere die Welt, sie braucht es" src="https://digital.library.unt.edu/ark:/67531/metadc1062106/small/"/></a></p><p>Recording of Wilhelm Zobl's Andere die Welt, sie braucht es.</p>Androgyny2021-05-27T11:00:33-05:00https://digital.library.unt.edu/ark:/67531/metadc1808520/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1808520/"><img alt="Androgyny" title="Androgyny" src="https://digital.library.unt.edu/ark:/67531/metadc1808520/small/"/></a></p><p>Recording of Barry Truax's Androgyny, a spatial environment with four computer-synthesized soundtracks. The sound construction is based on ideas about an acoustic polarity, namely "harmonic" and "inharmonic," or alternatively, "consonance" and "dissonance." These concepts are not opposed, but instead, are related in ways that show that a continuum exists between them, such as in the middle of the piece when harmonic timbres slowly "pull apart" and become increasingly dissonant at the peak intensity of the work. At that point a deep harmonic 60 Hz drone enters, similar to the opening section, but now reinforced an octave lower, and leads the piece through to a peaceful conclusion. High above the drone are heard inharmonic bell-like timbres which are tuned to the same fundamental pitch as the harmonic drone, a technique used throughout the work with deeper bells. The work is designed to sound different spatially when heard on headphones. Through the use of small binaural time delays, instead of intensity differences, the sounds are localized outside the head when heard through headphones. Various spatial movements can also be detected, such as the circular movement of the drones in the last section of the piece. The work was realized with the composer's POD6 and POD7 programs for computer sound synthesis and composition at Simon Fraser University. All the component sounds are examples of frequency modulation (FM) synthesis, generated in binaural stereo, with time differences between channels. However, considerable analog mixing in the Sonic Research Studio at Simon Fraser University produced the resulting complex work.</p>Ange2018-01-23T07:43:37-06:00https://digital.library.unt.edu/ark:/67531/metadc1062410/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1062410/"><img alt="Ange" title="Ange" src="https://digital.library.unt.edu/ark:/67531/metadc1062410/small/"/></a></p><p>Recording of Jean Piché's Ange for tape or radio performance. It is a timbral work in which the main goal is the total acoustic mixing of natural and synthetic sound material. In addition to the synthetic sounds that are created through a digital synthesizer, four voices - two men, two women - are introduced in the final mix and are hardly distinguishable from the synthetic sounds.</p>L'Angélus2019-06-12T21:59:19-05:00https://digital.library.unt.edu/ark:/67531/metadc1505851/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1505851/"><img alt="L'Angélus" title="L'Angélus" src="https://digital.library.unt.edu/ark:/67531/metadc1505851/small/"/></a></p><p>Recording of Denis Lorrain's L'Angélus. This piece is of a fairly free design and naturally exploits passages of contrast or homogeneity between the tape and clarinet. The tape is composed of electronic and concrete sounds, including sounds from the clarinet itself. The development on two channels of the tape is opposed to the fixity of the interpreter situated between the two speakers.
In a live presentation, this piece tries to avoid clearly marking its chronological limits: the beginning is designed to merge with the applause following a previously performed piece, and one avoids a precise ending by making one final clarinet sound on the speakers after the exit of the clarinetist.</p>L'Angélus2021-05-27T11:04:59-05:00https://digital.library.unt.edu/ark:/67531/metadc1808572/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1808572/"><img alt="L'Angélus" title="L'Angélus" src="https://digital.library.unt.edu/ark:/67531/metadc1808572/small/"/></a></p><p>Recording of Denis Lorrain's L'Angélus for clarinet and magnetic tape performed by Bernard Paluck, clarinet. This piece is of a fairly loose design, and uses natural passages of contrast or homogeneity between the magnetic tape and clarinet. Magnetic tape is made up of sounds electronic and concrete, including sounds coming from the clarinet itself. Development on two magnetic tape channels is opposed to the fixity of the interpreter situated between the two speakers. This recording was produced December 1971, at the Electronic Music Studio, McGill University in Montreal.</p>Animated Sonic Forms number 32021-05-27T11:03:56-05:00https://digital.library.unt.edu/ark:/67531/metadc1808561/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1808561/"><img alt="Animated Sonic Forms number 3" title="Animated Sonic Forms number 3" src="https://digital.library.unt.edu/ark:/67531/metadc1808561/small/"/></a></p><p>Recording of Francis John Sacci's Animated Sonic Forms number 3. Animated Sonic Forms number 3 was composed in 3 dimensions. Each tuning fork or timbre is a world apart. One sound created, another was made until two melodies of 12 sounds exist. The accompaniment was made by mixing the sounds heard in the melodies. The melodies are heard in different ways, we use variations, different speeds change the sounds while the melodies are played back and forth. The two little melodies are always played together to form a big line. Throughout the piece, the listener experiences two or three of the great variations of melodies playing simultaneously. An axis of percussive sounds is played during the music.</p>Anna2018-01-23T07:43:37-06:00https://digital.library.unt.edu/ark:/67531/metadc1062506/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1062506/"><img alt="Anna" title="Anna" src="https://digital.library.unt.edu/ark:/67531/metadc1062506/small/"/></a></p><p>Recording of John Edward Cousins's Anna. This piece is based on recordings made in 1974 at the ISME Research Seminar which took place at the Department of Music of the University of Canterbury. The subject of the seminar was Music and the Preschool-aged Child. Among the invited speakers were two specialists in the field of Musical Therapeutics. As an example of the power of musical sounds on an extremely retarded child, their article defends all therapeutic positive aspects inherent in musical nature. The composer tried to capture, by means of sound, the feeling of both joy and pain that the experience of music gives to a person, disabled or not.</p>Apostagie2021-05-27T11:12:31-05:00https://digital.library.unt.edu/ark:/67531/metadc1808617/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1808617/"><img alt="Apostagie" title="Apostagie" src="https://digital.library.unt.edu/ark:/67531/metadc1808617/small/"/></a></p><p>Recording of Takehito Shimazu's Apostagie. This work is only composed with sine waves. This is one of Shimazu's conclusions for the pursuit of topological form. The piece was created at the Berlin Studio (FRG).</p>L'ascension d'Euclide2017-07-11T19:49:35-05:00https://digital.library.unt.edu/ark:/67531/metadc984072/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc984072/"><img alt="L'ascension d'Euclide" title="L'ascension d'Euclide" src="https://digital.library.unt.edu/ark:/67531/metadc984072/small/"/></a></p><p>Recording of Horacio Vaggione's L'ascension d'Euclide.</p>Assemblage2018-01-23T07:43:37-06:00https://digital.library.unt.edu/ark:/67531/metadc1062389/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1062389/"><img alt="Assemblage" title="Assemblage" src="https://digital.library.unt.edu/ark:/67531/metadc1062389/small/"/></a></p><p>Recording of Philip Rosenberg's Assemblage for tape.</p>Atelje II (Atelier II)2018-01-23T07:43:37-06:00https://digital.library.unt.edu/ark:/67531/metadc1062305/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1062305/"><img alt="Atelje II (Atelier II)" title="Atelje II (Atelier II)" src="https://digital.library.unt.edu/ark:/67531/metadc1062305/small/"/></a></p><p>Recording of Lojze Lebič's Atelje II (Atelier II) for tape. The piece was composed in collaboration with Paul Pignon in the Radio Belgrade Electronic Studio in September 1975. It is made up of five sections, in which certain electroacoustic "instrumental" ideas are transformed through characteristic compositional procedures. The title has a twofold meaning: on one hand, it reveals the aims of the composer's research, considering that this was Lebič's first encounter with the electronic medium, and on the other, his expectations that the composition would be performed in the Concert Atelier cycle of the Society of Slovene composers. Atelier II was later expanded into Atelier III for magnetic tape and live violoncello performance.</p>Attacca2019-06-12T21:59:19-05:00https://digital.library.unt.edu/ark:/67531/metadc1506150/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1506150/"><img alt="Attacca" title="Attacca" src="https://digital.library.unt.edu/ark:/67531/metadc1506150/small/"/></a></p><p>Recording of Jan W. Morthenson's Attacca.</p>Attacca2021-05-27T11:05:44-05:00https://digital.library.unt.edu/ark:/67531/metadc1808584/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1808584/"><img alt="Attacca" title="Attacca" src="https://digital.library.unt.edu/ark:/67531/metadc1808584/small/"/></a></p><p>Recording of Jan W. Morthenson's Attacca.</p>Au nord du lac supérieur2018-01-23T07:43:37-06:00https://digital.library.unt.edu/ark:/67531/metadc1062592/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1062592/"><img alt="Au nord du lac supérieur" title="Au nord du lac supérieur" src="https://digital.library.unt.edu/ark:/67531/metadc1062592/small/"/></a></p><p>Recording of Michel Longtin's Au nord du lac supérieur.</p>Aubade2021-05-27T11:02:01-05:00https://digital.library.unt.edu/ark:/67531/metadc1808532/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1808532/"><img alt="Aubade" title="Aubade" src="https://digital.library.unt.edu/ark:/67531/metadc1808532/small/"/></a></p><p>Recording of Sandra Tjepkema's Aubade.</p>Aubade2019-06-12T21:59:19-05:00https://digital.library.unt.edu/ark:/67531/metadc1506086/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1506086/"><img alt="Aubade" title="Aubade" src="https://digital.library.unt.edu/ark:/67531/metadc1506086/small/"/></a></p><p>Recording of Sandra L. Tjepkema's Aubade. This aubade, a serenade whispered into a lover’s ear, just before dawn: It is meant, of course, as a type of erotic poem; but it is not the text alone but the finished product which constitutes the poem. The words (in English) along with complementary phonetic signs and tremulous sighs, seek out the familiar images of love poetry. Phonetic variations on the vocabulary and the breathing of sleeping, dream-talking lovers, the more literal interpretation of such images as tides-on-the-beach, stirring of bedsheets, comforted nightmares, quick leave-fakings, whistling-in-the-dark: these are the elements of this serenade.</p>Audiospacial2022-03-06T22:48:02-06:00https://digital.library.unt.edu/ark:/67531/metadc1915590/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1915590/"><img alt="Audiospacial" title="Audiospacial" src="https://digital.library.unt.edu/ark:/67531/metadc1915590/small/"/></a></p><p>Recording of Vladan Radovanović's Audiospacial. In its original form the work envisages a performance space including concert hall, communicating spaces on the same level, and possibly rooms above and below the hall. Both the electronic sounds and treated as sometimes mobile, sometimes stationary sound sources. The choir is required to move about the performance space according to trajectories coordinated with the time evolution of the score. A version for tape alone (and the corresponding score) has also been made. The electronic materiel is built up of sounds which range from autochthonous to quasi-simulation of instruments and voices. On the other hand, the vocal materiel sometimes tends towards an electronic sound. The electronic part was realized by a combination of two procedures. For some sections the score was designed for "instruments" which had already been defined, and was then strictly realized. Other sections were improvised, using the sequencer's digital memory to store the control data, which were subsequently copied into the score. While the openness of the electronic part has been closed by definitive choice of the sound events and their recording on tape, the choir part, in live performance, remains open in some places, where it is left to the performers to decide rhythm or pitch.</p>Audiospacial2019-06-12T21:59:19-05:00https://digital.library.unt.edu/ark:/67531/metadc1506131/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1506131/"><img alt="Audiospacial" title="Audiospacial" src="https://digital.library.unt.edu/ark:/67531/metadc1506131/small/"/></a></p><p>Recording of Vladan Radovanović's Audiospacial. The electronic material of the piece consists of real or quasi-simulated vocal or instrumental sounds. The vocal material, on the other hand, sometimes tends towards the electronic sound. The electronic part was realized by combining the two processes. For some sections, the score was established and carried out strictly. Others were improvised using the digital memory of the sequencer. If the electronic part is frozen by the choice of the sound events and their recording, the part reserved for the choir remains open in some zones because the interpreters can decide the rhythm and the height.
In its original form, the work envisages a performance space including concert hall, communicating spaces on the same level, and possibly rooms above and below the hall. Both the electronic sounds are treated as sometimes mobile, sometimes stationary sound sources. The choir is required to move about the performance space according to trajectories coordinated with the time evolution of the score. A version for tape alone (and the corresponding score) has also been made. The electronic material is built up of sounds that range from autochthonous to quasi-simulation of instruments and voices. On the other hand, the vocal material sometimes tends towards an electronic sound. The electronic part was realized by a combination of two procedures. For some sections, the score was designed for "instruments" which had already been defined, and was then strictly realized. Other sections were improvised using the sequencer’s digital memory to store the control data, which were subsequently copied into the score. While the openness of the electronic part has been closed by definitive choice of the sound events and their recording on tape, the choir part, in live performance, remains open in some places, where it is left to the performers to decide rhythm or pitch.</p>Aura Rully with Duke Ellington at the 1972 Newport Jazz Festival2016-05-31T14:09:50-05:00https://digital.library.unt.edu/ark:/67531/metadc847485/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc847485/"><img alt="Aura Rully with Duke Ellington at the 1972 Newport Jazz Festival" title="Aura Rully with Duke Ellington at the 1972 Newport Jazz Festival" src="https://digital.library.unt.edu/ark:/67531/metadc847485/small/"/></a></p><p>Aura Rully (Urziceanu) performs with Duke Ellington at the 1972 Newport Jazz Festival.</p>Austera2018-01-23T07:43:37-06:00https://digital.library.unt.edu/ark:/67531/metadc1062130/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1062130/"><img alt="Austera" title="Austera" src="https://digital.library.unt.edu/ark:/67531/metadc1062130/small/"/></a></p><p>Recording of Oscar Bazán's Austera.</p>B-A-C-H2022-03-06T22:47:52-06:00https://digital.library.unt.edu/ark:/67531/metadc1915586/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1915586/"><img alt="B-A-C-H" title="B-A-C-H" src="https://digital.library.unt.edu/ark:/67531/metadc1915586/small/"/></a></p><p>Recording of Jozef Malovec's B-A-C-H. The following materials are used in this composition: with a determined certain tone pitch such as succession of tones B-A-C-H at different pitches and transformations, two citations from the work of J. S. Bach realized on the synthesizer ARP plus the play-back of alto recorder/cantus firmus of the second--complete citation, slowed formants of the vowels in the introduction, with undetermined tone pitch such as noises and short impulsed formations at a different speed of the tape.</p>B-A-C-H2019-06-12T21:59:19-05:00https://digital.library.unt.edu/ark:/67531/metadc1505913/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1505913/"><img alt="B-A-C-H" title="B-A-C-H" src="https://digital.library.unt.edu/ark:/67531/metadc1505913/small/"/></a></p><p>Recording of Jozef Malovec's B-A-C-H. The following materials are used in this composition:
1. A. Succession of tones B-A-C-H at a different pitches and transformations
B. two citations from the work of J.S. Bach realized on the synthesizer ARP plus the play-back of alto recorder/cantus firmus of the second – complete citation
C. slowed formants of the vowels in the introduction
D. slowed beats on the crotales in the culminations point of the introduction
2. With undetermined tone pitch such as noises and short impulse formations at a different speed of the tape.
These two contrast material levels create tension and by emphasizing one or the other level they form the musical pulsation of the composition.</p>Ballada2018-01-23T07:43:37-06:00https://digital.library.unt.edu/ark:/67531/metadc1062406/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1062406/"><img alt="Ballada" title="Ballada" src="https://digital.library.unt.edu/ark:/67531/metadc1062406/small/"/></a></p><p>Recording of Bohdan Mazurek's Ballada. The title of the work relates above all to the epic character of the musical narrative. All the main thematic subjects and the materials of this composition are present in a brief entry. Apart from this entry and the conclusion we can find three different parts, but this division does not in any way interfere with the continuity of the work.</p>Barisphère2018-01-23T08:59:35-06:00https://digital.library.unt.edu/ark:/67531/metadc1062686/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1062686/"><img alt="Barisphère" title="Barisphère" src="https://digital.library.unt.edu/ark:/67531/metadc1062686/small/"/></a></p><p>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.</p>Barriers2021-05-27T10:57:00-05:00https://digital.library.unt.edu/ark:/67531/metadc1808502/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1808502/"><img alt="Barriers" title="Barriers" src="https://digital.library.unt.edu/ark:/67531/metadc1808502/small/"/></a></p><p>Recording of Daniel Starr's Barriers. Barriers is a quadraphonic electronic composition, which was composed in the interval May-June of 1976 in the Yale Electronic Music Studio, using both classical and control-voltage technique. It comprises 30 brief sections lasting 8 to 45 second each, which are in turn divided into two larger sequences of 15 sections, separated from each other by several seconds of dead silence in the center of the piece. Each section on either side of the piece explores a unique combination of sound-points, short, long and continuous tones. The piece is thus loosely organized according to a durational scheme. The opening consists of only short tones, the ending only of long tones; the first half ends only with sustained tones and after the silence, the second half begins with “points” alone. The composition deals specifically with the development and dramatic aspects of those elements, which are carried over from one section to the next, and with the introduction and phasing out of the different kinds of material. Most of the sounds used in the work are pure in character, which is to say that they have a single clear pitch despite the fact that they may have been modulated reverberated or manipulated timbrally in some way. Extensive use is made of high-speed electronic panning, in which a tone or chord shuttles back and forth rapidly from one location to another or moves in circles or a helix in quadraphonic space.</p>Batucada2018-01-23T07:43:37-06:00https://digital.library.unt.edu/ark:/67531/metadc1062240/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1062240/"><img alt="Batucada" title="Batucada" src="https://digital.library.unt.edu/ark:/67531/metadc1062240/small/"/></a></p><p>Recording of Gabriel Brnčić's Batucada.</p>Beginning of the Spring2021-05-27T11:17:30-05:00https://digital.library.unt.edu/ark:/67531/metadc1808633/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1808633/"><img alt="Beginning of the Spring" title="Beginning of the Spring" src="https://digital.library.unt.edu/ark:/67531/metadc1808633/small/"/></a></p><p>Recording of Takehito Shimazu's Beginning of the Spring.</p>Betsy2018-01-23T07:43:37-06:00https://digital.library.unt.edu/ark:/67531/metadc1062299/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1062299/"><img alt="Betsy" title="Betsy" src="https://digital.library.unt.edu/ark:/67531/metadc1062299/small/"/></a></p><p>Recording of Rick Banks's Betsy, which is based on a story created by the composer. The computer program by which the piece is created emits sounds that Banks calls "Betsy" and Betsy's labels describe herself. "Betsy Butterfield didn't like counting nifty numbers so instead she tried jumping galaxies and times but soon found it was some different kind of goddess than her that never knew the suns."</p>Beyond the Clouds2018-01-23T07:43:37-06:00https://digital.library.unt.edu/ark:/67531/metadc1062096/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1062096/"><img alt="Beyond the Clouds" title="Beyond the Clouds" src="https://digital.library.unt.edu/ark:/67531/metadc1062096/small/"/></a></p><p>Recording of Keiki Okasako's Beyond the Clouds.</p>A bientôt elfes, trolls et lutins2018-01-23T07:43:37-06:00https://digital.library.unt.edu/ark:/67531/metadc1062363/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1062363/"><img alt="A bientôt elfes, trolls et lutins" title="A bientôt elfes, trolls et lutins" src="https://digital.library.unt.edu/ark:/67531/metadc1062363/small/"/></a></p><p>Recording of Michel Lontin's A bientôt elfes, trolls et lutins.</p>Bill Berry's New York Band in rehearsal with Bill Watrous2017-12-13T13:32:09-06:00https://digital.library.unt.edu/ark:/67531/metadc1046772/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1046772/"><img alt="Bill Berry's New York Band in rehearsal with Bill Watrous" title="Bill Berry's New York Band in rehearsal with Bill Watrous" src="https://digital.library.unt.edu/ark:/67531/metadc1046772/small/"/></a></p><p>A recording of a rehearsal of Bill Berry's New York Band with trombonist Bill Watrous</p>Brad Stroud, cassette sent to Leon Breeden2020-02-25T21:21:23-06:00https://digital.library.unt.edu/ark:/67531/metadc1613853/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1613853/"><img alt="Brad Stroud, cassette sent to Leon Breeden" title="Brad Stroud, cassette sent to Leon Breeden" src="https://digital.library.unt.edu/ark:/67531/metadc1613853/small/"/></a></p><p>Audio recording sent by pianist and trombonist Brad Stroud to Leon Breeden following a visit to North Texas. The recording includes spoken segments from Stroud, as well as recordings of his performances, including Stroud's composition ("Listen to My Father") introduced by Kenton and played by Kenton's band, and a performance from one of Kenton's band clinics. The reference to Steve Wilkerson winning on the Gong Show dates the recording to around 1979.</p>Brazen2018-01-23T07:43:37-06:00https://digital.library.unt.edu/ark:/67531/metadc1062397/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1062397/"><img alt="Brazen" title="Brazen" src="https://digital.library.unt.edu/ark:/67531/metadc1062397/small/"/></a></p><p>Recording of Emmanuel Ghent's Brazen.</p>Breath2018-01-23T07:43:37-06:00https://digital.library.unt.edu/ark:/67531/metadc1062667/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1062667/"><img alt="Breath" title="Breath" src="https://digital.library.unt.edu/ark:/67531/metadc1062667/small/"/></a></p><p>Recording of Teresa Rampazzi's Breath. Four fragments of Bach, Mozart, Stravinsky, and Webern were decoded. The similar (spiral) structures of these fragments and the various combinations of velocity and dynamic space velocity have been put together without, however, altering the melodic design and rhythm. Originally the work was conceived for four channels.</p>Buffalo 712018-01-23T08:59:35-06:00https://digital.library.unt.edu/ark:/67531/metadc1062705/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1062705/"><img alt="Buffalo 71" title="Buffalo 71" src="https://digital.library.unt.edu/ark:/67531/metadc1062705/small/"/></a></p><p>Recording of José Vicente Asuar's Buffalo 71.</p>Buoyant charm2023-08-07T13:00:32-05:00https://digital.library.unt.edu/ark:/67531/metadc2146052/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc2146052/"><img alt="Buoyant charm" title="Buoyant charm" src="https://digital.library.unt.edu/ark:/67531/metadc2146052/small/"/></a></p><p>Recording of Natasha Barrett's Buoyant charm. This work is for electroacoustics and mixed ensemble and explores the relationship of instrumental timbre and acousmatic sounds. The composer discusses the importance of spatialisation and notes that the number of performers and the size of their instruments resulted in a relatively large spatial occupation.</p>Ca c'est ma petite fille2024-02-11T11:11:55-06:00https://digital.library.unt.edu/ark:/67531/metadc2280479/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc2280479/"><img alt="Ca c'est ma petite fille" title="Ca c'est ma petite fille" src="https://digital.library.unt.edu/ark:/67531/metadc2280479/small/"/></a></p><p>Recording of Christian Clozier's Ca c'est ma petite fille. This is a work for electronics that includes French spoken word.</p>Cadenza2018-01-23T07:43:37-06:00https://digital.library.unt.edu/ark:/67531/metadc1062594/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1062594/"><img alt="Cadenza" title="Cadenza" src="https://digital.library.unt.edu/ark:/67531/metadc1062594/small/"/></a></p><p>Recording of Ryszard Klisowski's Cadenza</p>Candomblet2018-01-23T07:43:37-06:00https://digital.library.unt.edu/ark:/67531/metadc1062432/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1062432/"><img alt="Candomblet" title="Candomblet" src="https://digital.library.unt.edu/ark:/67531/metadc1062432/small/"/></a></p><p>Recording of Rodolfo Caesar's Candomblet. This piece was created through manipulation of the Candomblet record synthesizer. The choice of sound material follows purely musical criteria; there is no nationalist intention. Piece uses music originally made for dance.</p>Cantata ai-ai-a2018-01-23T07:43:37-06:00https://digital.library.unt.edu/ark:/67531/metadc1062171/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1062171/"><img alt="Cantata ai-ai-a" title="Cantata ai-ai-a" src="https://digital.library.unt.edu/ark:/67531/metadc1062171/small/"/></a></p><p>Recording of Rudolf Růžička's Cantata ai-ai-a.</p>Cantata dialetica2018-01-23T07:43:37-06:00https://digital.library.unt.edu/ark:/67531/metadc1062303/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1062303/"><img alt="Cantata dialetica" title="Cantata dialetica" src="https://digital.library.unt.edu/ark:/67531/metadc1062303/small/"/></a></p><p>Recording of Joaquin Orellana's Cantata dialetica.</p>Canti per checca2018-01-23T07:43:37-06:00https://digital.library.unt.edu/ark:/67531/metadc1062319/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1062319/"><img alt="Canti per checca" title="Canti per checca" src="https://digital.library.unt.edu/ark:/67531/metadc1062319/small/"/></a></p><p>Recording of Teresa Rampazzi's Canti per checca.</p>