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Ensemble: 2017-09-20 – UNT Symphony Orchestra [Stage Perspective]
Orchestra concert performed at the UNT College of Music Winspear Hall. This video is shot from the orchestra's perspective, showing the conductor.
Ensemble: 2017-09-20 – UNT Symphony Orchestra
Orchestra concert performed at the UNT College of Music Winspear Hall.
Ensemble: 2017-09-27 – UNT Concert Orchestra [Stage Perspective]
Orchestra concert performed at the UNT College of Music Winspear Hall. This video is shot from the orchestra's perspective, showing the conductor.
Ensemble: 2017-10-25 – UNT Concert Orchestra
Orchestra concert performed at the UNT College of Music Winspear Hall.
Ensemble: 2017-09-27 – UNT Concert Orchestra
Orchestra concert performed at the UNT College of Music Winspear Hall.
Ensemble: 2017-11-02 – UNT Wind Symphony [Stage Perspective]
Band concert performed at the UNT College of Music Winspear Hall. This video is shot from the band's perspective, showing the conductor.
Ensemble: 2017-09-28 – UNT Wind Symphony
Band concert performed at the UNT College of Music Winspear Hall.
Transits élémentaires
Recording of Francis Dhomont's "Transits élémentaires" ("Elementary Transits"). The piece is a question of a crossing that could be compared - very modestly - to that of Dante's Virgil. From fire through air, from central magma to the high layers of the atmosphere, the traveler crosses through then Alice's looking glass. The perception then becomes mental. At the formal level, the piece has five concave movements, all of unequal duration articulated by a constantly varied pattern, a sort of hinge. The piece was realized in Dhomont's personal studio as well of the GMEM (Centre National de Création Musicale) in Marseille for the synthesizer sound materials.
Beyond the Clouds
Recording of Keiki Okasako's Beyond the Clouds.
Imagones d'une histoire en redondo (imposible a la equis)
Recording of Joaquín Orellana's "Imagones d'une histoire en redondo (imposible a la equis)" for tape.
Studio per due sorgenti
Recording of Francesco Galante's "Studio per die sorgenti" ("Study for Two Sources"). The musical form is a comtinuum and the music is a passage from a low to high complexity of sound materials, of the shape of textures and the succession of the events in the acceleration of time. It was realized in the electronic music studios at the Experimental Music Center in Rome in 1978.
Fabulas
Recording of Ricardo Mandolini's Fabulas. It is a piece that creates a soundscape of fantasy, reminiscent of stories from childhood. Uses electronic and instrumental sound material.
Eq
Recording of Jonty Harrison's Eq for live saxophone and tape. It is the third in a series of works that features saxophones. This piece like the others, is also concerned with 'cu' (here made manifest by the interaction of live saxophone and recorded sounds on tape), 'Q' (a filter is used to sweet the producing melodic material out of static harmony) and spatial articulation. 'EQ' is studio slang for 'equalization - a more sophisticated version of the treble and bass controls on a domestic hi-fi system and a fundamental device for sound modification in the studio. EQ was commissioned by John Harle with funds made available by the arts Council of Great Britain. It received it's first performance in the Purcell Room, London in November 1980. The tape was produced in the Electronic Music Studios of the University of New York and the City University, London.
Klangbild
Recording of Klaus Röder's Klangbild. The basis of this piece was a guitar improvisation. The tape with the recorded guitar sounds was cut at suitable points. The cut pieces were sorted and classified. So there were several small musical motifs which were instrumented afterwards by electronic means.
Extraits de Ballet
Recording of Leo Nilsson's Extraits de Ballet
Naturalia
Recording of Costin Cazaban's Naturalia for piano and tape. Circular games on the harmonic sounds of the totally linear solo piano part. The direction of the music shows the process of disintegration on the environment. The idea for the work was aroused by the myth of the Sister of Albert Camus.
Walking Bells
Recording of David Porter's Walking Bells for tape. The piece is a tour through an environmental/concrete landscape. It is another variation on the "cumulative form." This is the second in a series of four tape pieces. As with all these pieces, this piece comments on political and compositional methods and devices. In this instance, the piece makes reference to another composer whose style is borrowed. Other than that, it is pure experience. This piece should be listened to with speakers placed well apart and volume up the the highest comfortable level at the last two minutes of the piece.
Phases - Events
Recording of Enström's Phases - Events
Requiem per amanda
Recording of Teresa Rampazzi's Requiem per amanda. Key musical features include two female voices in an echoing pattern and synthesized sounds.
November settting
Recording of Gottfried Martin's November setting.
Kasaanin Synty (Genesis of Kazan)
Recording of Pekka Sirén's "Kasaanin Synty (Genesis of Kazan)" performed by Leena Schönberg, speaker. The poem "The Founding of Kazan" is a Mordovinian poem from the collection "Heimokannel," original translation of text from Mordavinian to Finnish by Otto Maninen. Realized in Finnish Radio's Experimental Studio and at Stockholm's EMS Studio from 1978-1980
Como un suspiro caido del cielo
Recording of Eduardo Kusnir's "Como un suspiro caido del cielo" ("Like a sigh dropped from the sky").
Alidvoty "Les harmoniques"
Recording of Tadeáš Salva's Alidvoty "Les harmoniques."
Inspiravit aeolus
Recording of Pierre Barbaud's Inspiravit Aeolus. During the months of July - August 1979, Barbaud did his holiday homework on the island of Panarea, which is part of the eight Aeolian Islands in southern Italy. The title refers to the character Aeolus from Homer's Odyssey who is the Keeper of the Winds. In the hours of siesta, he blows with great gentleness on the bougainvillea; this is the inspiration for all of the algorithms in the piece. After returning to Paris, Barbaud asked Frank Brown and Geneviève Klein to provide the sound sampling program in data that did not provoke violent attacks. A poor telephone transmission during a first experiment, was the cause of a crash that did not lack beauty. The following communications were normal, and everything from those transmissions were kept in the piece.
A pocketful of posies
Recording of Jonathan Berger's "A pocketful of posies." The title refers to the Black Death of the 14th century, a time when people dealt with impending doom in much the same way as people do today. It was premiered at Stanford University in March 1984.
Strephanade
Recording of Loretta Jankowski's Strephanade. The piece makes extensive use of voltage-controlled equipment. It was entirely electronically generated and produced. Strephanade was realized at the Electronic Music Studio at the University of Michigan.
Refraction
Recording of Kim Dyett's Refraction for tape. The piece is composed from words that are twisted and transformed moving from meaning to sound images.. The work was inspired from poems by E. E. Cummings.
Panta rhei
Recording of Jürgen Bräuninger's Panta Rhei. This piece is connected for one female dancer who is connected to a synthesizer via a cable ("Umbilical cord"). "Panta Rhei" ("everything flows") refers to the Greek myth of the Three Fates (Clotho, Lachesis and Atropos). The cable represents the string of life which the performer can not escape. This dependency forces her to react to the sound events with reach her through the cable.
Genesis
Recording of Barton MacLean's Genesis.
Soft Song
Recording of Ton Bruynèl's Soft Song.
Of time and nostalgia
Recording of Douglas Lilburn's Of time and nostalgia.
Catchwave 71
Recording of Takehisa Kosugi's Catchwave 71.
Overfall
Recording of Lelio Camilleri's Overfall. Transformed piano sounds and sound structures realized by means of voltage control make up the sound material of the piece.
Jabara
Recording of Martin Brinkerhoff's Jabara. Sound material consists of percussion sounds that have been manipulated by concrete methods: pitch and duration transposition, inversion, and mixing. The work is dedicated to percussionist Martin Jabara, who provided the basic sounds. The piece was realized at the Center for Music Experiment at California San Diego University.
Suiana Wanka
Recording of Fernando Condon-Garcia's Suiana Wanka for tape. This work collects and develops independently the materials of a music scene for Peter Shafer work "The Royal Hunt of the Sun". It is based exclusively on sound recordings of various Latin American instruments such as the Indian flute, pincuyos, sicus, tarkas, mohecenos, various kinds of percussion, etc., to which are added, during some passages, instruments from European culture (organ, flute, bass). The original sound was made in a professional studio, and the final realization was made in ELAC, a small Montevideo studio, with the technical assistance of Carlos Da Silveira.
Le mythe de la machine
Recording of Wilfried Jentzsch's "Le mythe de la machine" for piano and tape. The design is based on various calculations of chance. The tape was made in collaboration between the electroacoustic studio of the Hochschule für Musik Köln and the Center for Studies of Mathematics and Musical Automatics (C E M A M u) in Paris.
Troisième doxologie Saint Sébastien
Recording of Frank Royon Le Mée's "Troisième doxologie Saint Sébastien" ("Third Doxology Saint Sebastian"). The piece is an electronic postlude in three stanzas.
Poliritmica
Recording of Peter Kolman's Poliritmica. The framework of the work - the beginning and the end - form multi-layered rhythmic structures that complement each other to produce a regular pulsating movement. The whole composition represents a correlation between rhythmically regular, rhythmically irregular and rhythmically not articulated (thus continuously fluid) structures.
Humanofonia
Recording of Joaquin Orellana's Humanofonia
Sch No. 2
Recording of György Kurtág's Sch No. 2. The title applies to a series of works written for the electronic guitar. Second in the series, this piece uses very simple technical means: fuzz, wah-wah, feedback on the bass guitar. Kurtag's intention is to exploit the acoustic possibilities of the bass guitar. Recording made in the electronic studios of Radio Hungarian (1977).
Austera
Recording of Oscar Bazán's Austera.
Dialogue
Recording of James Tenney's Dialogue
Response II
Recording of John Celona's Response II.
The pulses of time
Recording of Denis Smalley's The pulses of time. The piece reflects the varied behavior of pulses: the regular pulses of meter, the much slower pulses which pace sections of music, and pulses which form the interior character of sounds - the accelerating pulses of a bouncing sound, and the fast pulses creating the "grain" in sound textures. The different atmospheres in the work are generated by the major sound sources: the electronic bounced family of sounds, metallic harmonies which expand the resonances of dramatic gong-like attacks, noise contours, drums and percussion both real and synthetic, and the clavichord which provides a rich reservoir of sounds - deep clusters, sighing pitches, resonances truck on the soundboard, strings plucked and stroked. The clavichord sounds remain raw and untreated.
Parier sur huit chevaux n°1
Recording of Karel Goeyvaerts's Parier sur huit chevaux n°1.
Diastasis
Recording of Claude Colon's Diastasis. Diastasis means separation. Separation between an instrumental play and a set of sounds obtained with a generator. Dialogue. Osmosis. Separation.
Ekphonesis IV
Recording of Alcides Lanza's Ekphonesis IV.
Rapid eye movement
Recording of Roger Doyle's Rapid eye movement. The title refers to the type of sleep called "Rapid Eye Movement" or REM, which is dream sleep. During REM sleep, the muscles of the eyes move as though the dreamer were watching something. Structurally, the work is conceived in the same way as Déjà vu occurs in life. There are 30 or 40 instances of mysterious familiarities of the same sounds placed in totally different contexts. Like the human cell, any extract from the composition will reveal the main elements comprising it - the part reflects the whole.
Pashanti (Les 9 Milliards de Noms de Dieu)
Recording of David Evan Jones's "Pashanti (Les 9 Milliards de Noms de Dieu)." "Pashanti" is a Sanskrit word that refers to the level of thought that immediately predicts the recognition of speech as sound. This composition uses a hybrid computer musical system to filter vowel sound sources and vowel-like sounds. The text consists of the vowels i / a / u / e / i in sequence with particular transition velocities form the word "Yaweh" (the name of the Hebrew god). This series of vowels is continuously permuted to form the text of Pashanti through the composition.
Tanz-Trypticon
Recording of Jürgen Bräuninger's Tans-Trypticon.
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