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Fermata via Media

Description: A shower of grains with an average duration of 80 milliseconds but perceived as a continuous sound produces shifts of changing timbres. The sound source for this granulation made in real time comes from samples whose mathematical data are recorded on a hard disk (it is quanta whose frequency modulation (FM) and the spectral envelope (formants) have been predetermined. ). The reading mode of these data is controlled in a way (as if read stuttering) to perceive as a musical gesture what could otherwise be a succession of brief and irreducible sound events. The piece is a psychological poem that explores aspects of pitch and interval, temporal perception, and timbre in a context of selective listening (auditory streaming). "Fermata via media" was produced (1990) at Simon Fraser University's Electroacoustic Music Laboratory with the help of GSAMX sampling programs for granular synthesis and compositional PDFILX developed by Barry Truax.
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Date: 1990?
Duration: 1 hour 49 minutes 25 seconds
Creator: Ablenas, Robert, 1959-
Partner: UNT Music Library

Metallika Glypta III

Description: "Metallika Glypta III", is the third release of a series of three works under the same title, was written in February 1972. Their processing and the final realization were made in the studio of the author. The sculpture exhibition of Loukoupoulos (1972) was the starting point of "Metallika Glypta". The idea of ​​using sounds taken exclusively from metal sculptures was a particularly challenging stimulus. The musical activity starts at the first moment when the sound material was collected. The ideas on the making of sounds were preconceived, they came one after the other. Each successful essay highlights the emotion of the first creative success. The same emotion was found in later treatments and their inclusion in large units. The form of the work -fluent and evolving without stop- serves the integration of musical ideas in a composition that has not denied the original material. The feeling of metal is thus always present.
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Date: 1972
Duration: 5 minutes 40 seconds
Creator: Adamis, Michael
Partner: UNT Music Library

Dencias

Description: Recording of Alfredo Marcano Adrianza's Dencias. “Dencias” was realized at the Laboratory of Electronic Music (CICMAT) of Buenos Aires. The work is conceived as a large surface of electronic sounds that appear and disappear in different harmonic combinations, on a resonant background of delicate character, formed by percussion sounds of instrumental origin. The slow, somewhat hypnotic unfolding of the work is sometimes interrupted by the violent appearance of fortissimo attacks.
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Date: 1977
Duration: 11 minutes 16 seconds
Creator: Adrianza, Alfredo Marcano
Partner: UNT Music Library

Spermanence

Description: This work uses, with rudimentary means, the fixed qualities of a piano sound sampled by the lack of an AKAI factory. Despite a rather hollow sound that I sought in this sonata to give a field of expression quite extended to the possibilities of putting in play offered by the computer. The piece is in three movements, essentially based on the deployment of an initial agreement. At any moment, I voluntarily appealed to a rhetorical break of form, an appeal to our routed memory, to become, and yet frozen by the obsessive reiteration of the initial agreement. The second movement brings into play the sound transformations of the chord until its disintegration. The third movement is extremely short, but constitutes the implacable solidification of time. In the form of a magic square.
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Date: 1980
Duration: 22 minutes 11 seconds
Creator: Agam, Orram, 1963-
Partner: UNT Music Library

C.L.B. 512

Description: Recording of Klaus Ager's C.L.B. 512 for clarinet and recording.
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Date: 1986
Duration: 12 minutes 21 seconds
Creator: Ager, Klaus
Partner: UNT Music Library

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
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Date: 1981
Duration: 12 minutes 26 seconds
Creator: Aharonián, Coriún, 1940-
Partner: UNT Music Library

Que

Description: Recording of Coriún Aharonián's Que, spoken text performed by Armando Halty. All of the sound material, besides the spoken text, is electronically generated sounds. It was composed between July and October 1969 and was realized in the Laboratorio de Moesica Electronica of the Centro Latinoamericano de Altos Estudios Musicales of the Instituto Torcuato Di Tella in Buenos Aires.
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Date: 1969
Duration: 4 minutes 03 seconds
Creator: Aharonián, Coriún, 1940-
Partner: UNT Music Library

Tragoida/Komoidia

Description: Tragoidia 1) A dramatic or literary work depicting a protagonist engaged in a morally significal struggle ending in ruin or profound disappointment. 2) 2) Any dramatic, disastrous event. Komoidia : We now and now enter the region of a big guy who eats pies and does not lie in the sun but always tells the truth without shades. With his mephitic breath he sings for night watchmen who intrepidly become character traits as they watch him introduce the players. There are buzzards, there are children, there are musics, always accompanied by their mother who works at the borderline for the mentally accelerated. A magical disarray fills all space with its space, where Haydn melodies metamorphize into exotic modes as Dionysus rejoices in Bacchanalian rumpus. All is well.
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Date: 1987
Duration: 9 minutes 06 seconds
Creator: Aikman, James
Partner: UNT Music Library

Boustrophedon ä-e-i III "souple révolution d l'eau"

Description: - Third movement of the suite "Boustrophedon ä'e'i". Order from the city of Marseille for the Bologna Biennial 88. Intrauterine journey of the modern poet whose heavy and unique obsession is to break the jar of the interior in order to discover the Woman. Sounds then the Sacred Noise, the first awakening of the Tectonic Blacksmith: "What is heavy, is low! What is light is high!", First awakening of the Water-the-unfathomable: "Who can imagine the sea before the first rain? What sound was thunder at this time? "
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Date: 1988
Duration: 5 minutes 35 seconds
Creator: Alagna, Jan Pascal, 1963-
Partner: UNT Music Library

News

Description: Recording of Jan Pascal Alagna's News.
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Date: 1989
Duration: 5 minutes 28 seconds
Creator: Alagna, Jan Pascal, 1963-
Partner: UNT Music Library

What if...

Description: Recording of Kristi Allik's "What if...". The title refers to the composer's most common thought during the creation of the composition; the work was the result of constant questioning and exploration, mainly in the area of timbral synthesis and sound juxtaposition.
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Date: 1983
Duration: 6 minutes 36 seconds
Creator: Allik, Kristi
Partner: UNT Music Library

Acuerdor por Differencia

Description: Picture yourself travelling at ease on the train. As you look through the window, you notice the power cables, which run parallel to the tracks. As your eyes follow them, they seem to turn giving the impression of a volume that gently and continuously rotates as it changes shape. This flow seems to accelerate before being momentaneously interrupted by the posts that hold them at more or less regular distances; this is immediately followed by the previous soft change as you recapture the perspective of the hanging cables. Of course, you easily deduct how the illusion works and soon are off onto something else more productive. But imagine you were in a position to determine a few things beforehand, says the distance between posts. Or, if you are of the impulsive "hands on" type, imagine you were able to change the speed of the train instantaneously at your will. You would then be able to effect changes in the evolving pattern of the cables and on the rate of the change itself, thus giving the whole illusion a direction and a life of its own right in front of your eyes. In Acuerdos por Diferencia I have attempted to draw a musical parallel with a similar sort of speculation. So many of the gestures and rhythmic objects in the music commence or finish on a point of accord (Acuerdo), from which their flow continues or emerges. A great deal of variation, differentiation, juxtaposition and superimposition (Diferencia) between computer and harp takes place between those points, their appearances being also subjected to quick "edits" and variations in speed. Thus my title can be freely translated as "accords within difference". I have used mostly harp, lute and vihuela sounds for the computer part, which was realised and recorded at the studios of …
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Date: 1989
Duration: 22 minutes 37 seconds
Creator: Alvarez, Javier, 1956-
Partner: UNT Music Library

Asi el Acero

Description: In Asi el Acero, I tried to marry two very different sound worlds: the steel drum, generally associated with Caribbean music, and the world of electroacoustic music, usually associated with technology, computers and synthesizers. In order to find a coherent ensemble for both, I have done important research in the classical repertoire of steel drum, music by nature very "noisy", very rhythmic and very repetitive. From there came to me the idea of ​​using small rhythmic cells to adapt the fixed idioms to the instrument itself, so its role in Asi el Acero is a very precise rhythmic direction. Concerning the sounds on tape, I used them as extensions of the instrument played live -as a giant steel drum band- whose role would be to accompany the instrumentalist and, more importantly, to articulate the rhythmic structure and produce strong accentuations to give impetus- or in terms of Caribbean music- to "kick" the principal instrumentalist. These tape-like (or computer-controlled) sounds are steel drum sounds, sampled and processed just like synthetic sounds. From a rhythmic point of view, the piece explores the use of the legend and the medieval atmosphere. In plain language, this means that the small rhythmic elements are combined with sound elements of different duration, while the fixed elements played by the instrumentalist are always modified or counterbalanced according to the cadence, and are therefore syncopated, juxtaposed or superimposed compared to what happens with the computer part. There are about 120 elements that are in perpetual transformation, giving the piece an air of toccata in contradiction with the music of the Caribbean, but in perfect harmony with my own interpretation on it.
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Date: 1988
Duration: 18 minutes 27 seconds
Creator: Alvarez, Javier, 1956-
Partner: UNT Music Library

Papalotl

Description: Papalotl (from the Nahuatl word butterfly), started off as a revision of my previous work for piano and tape Luz Caterpillard. As the work evolved, I realised the piece was taking a completely different path from the one originally intended, and the result was an entirely new piece. My Papalotl is a toccata like, a tour de force for both pianist and its counterpart on tape. As in some of my previous works, the concerns are primarilly rhytmic and demand an extreme coordination between the two parts. Specially, Papalotl deals with continous metric modulation throughout its entirety by means of rhytmic patterns that are continously shifted to prevent resolution and thrust the movement in a constant forward direction. The sound sources are mainly "inside piano" sounds which were prerecorded and sampled on the Pairlight CMI. The textures were also acheived by means of similar rhythmic processes applied to the layering and attacks of the source sounds, and resampled as new objects. The piece was first performed by Shelag Sutherland in April 1987.
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Date: 1987
Duration: 13 minutes 10 seconds
Creator: Alvarez, Javier, 1956-
Partner: UNT Music Library

The Question Mark's Black Ink

Description: The Question Mark's Black Ink was inspired, in part, by a poem by S.L. Hough (opposite), from which the title comes. Though not programmatic, the work was influenced by the atmosphere of the poem as well as its implicit psychological dichotomy, of which the contrast of tape and live performers may be taken as representative. There also exists a unity between the tape and the acoustic sounds, however, because the sounds on the tape were all taken from the instruments playing: piano (bowed, plucked, and played on the keyboard), and percussion (tam-tam, vibes, bells, cymbals, gongs, all both struck and bowed). Once sampled into the Synclavier II digital synthesizer, the sounds underwent various significant transformations including filtering, splicing, mixing, and other digital concrete techniques. The Synclavier II used for this realization was purchased on a grant form the University of Southern California Faculty Research and Innovation Fund. This work is dedicated to S.L. Hough and to Vicki Ray (piano) and Mark Nicolay (percussion) who commissioned the piece and first performed it.
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Date: 1986
Duration: 18 minutes 28 seconds
Creator: Alves, Bill
Partner: UNT Music Library

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.
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Date: unknown
Duration: 16 minutes 24 seconds
Creator: Amenábar, Juan, 1922-1999
Partner: UNT Music Library

Sueño de un niño

Description: Recording of Juan Amenábar's Sueño de un niño.
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Date: 1970
Duration: 4 minutes 46 seconds
Creator: Amenábar, Juan, 1922-1999
Partner: UNT Music Library

Pas de Voix

Description: When asked to compose a piece for an all-Samuel Beckett concert in Los Angeles (including works by Cage, Dodge and Gnazzo), I determined not to act a text of the renowned existentialist writer but rather to sample his voice and manipulate the recording to formulate the substance of the music. Upon learning that Mr. Beckett does not permit his voice to be taped under any circumstances, I proceeded to record the lobby of his apartment building in Paris, the open-air Metro stop across the street, a sound poets' dinner later the same evening and two young girls watching a mime act at the plaza near the Centre Pompidou. Added to this were the bells of Notre-Dame Cathedral, the crying of a precocious baby, a sound sculpture, some extended-technique electric guitar sounds and a selection of sonic bodily functions. The result is an impressionistic cyclical narrative sound-portrait, touching on various aspects of Samuel Beckett's life. For a full description, please refer to "Pâte de Pas de Voix" in Perspectives of New Music, volume 26/s (Summer 1988). The treatment of ambient sounds was performed in the Synclavier studio of Henry Kaiser in Oakland, California. Most of the sounds originally were recorded by Charles Amirkhanian ; Susan Gilmore Stone, Hörspiel artist and sound recordist, provided recordings of her daughter Anna, approximately eight weeks old. Sound sculpture by Larnie Fox of Salt Lake City was recorded at the Art Barn there. The final eight-track collage and mix was engineered by Robert Shumaker at 1750 Arch Studios in Berkeley. The piece was commissioned by Klaus Schöning of the Westdeutscher Rundfunk, Cologne. It was premiered in concert at Schoenberg Hall on the campus of the University of California, Los Angeles, on 16 October 1987.
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Date: 1987
Duration: 16 minutes 37 seconds
Creator: Amirkhanian, Charles
Partner: UNT Music Library

Mouvements

Description: Recording of Benno Ammann's Mouvements. Realized at the Ipem Studio in November 1976. Two main structures, computer-controlled (and partly alienated and distorted), form the basic material of the piece, and are mixed, varied and transformed into new sound formations in an aleatoric process by means of high-low filters, tempophones and feedback subjected to variable time. Contrasting sound elements (more figurative characters), produced on the apparatuses DATAPULSE and WAVETEK of Ipem’s studio, accompany the main sections parties principally by variation and increasing movement in ever changing time.
Date: 1976
Duration: 8 minutes 50 seconds
Creator: Ammann, Benno, 1904-1986
Partner: UNT Music Library

Mouvements

Description: Recording of Benno Ammann's Mouvements.
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Date: 1976
Duration: 8 minutes 50 seconds
Creator: Ammann, Benno, 1904-1986
Partner: UNT Music Library

Brown Autumn

Description: Recording of Ake Andersson's Brown Autumn.
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Date: 1982
Duration: 5 minutes 58 seconds
Creator: Andersson, Ake
Partner: UNT Music Library

Lapinkyla jaa tckojarven alle

Description: Recording of Åke Andersson's Lapinkyla jaa tckojarven alle.
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Date: 1975/1976
Duration: 5 minutes 26 seconds
Creator: Andersson, Åke, 1934-
Partner: UNT Music Library

Chef d’œuvre

Description: Recording of Jon Appleton's Chef-d’œuvre.
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Date: 1967
Duration: 2 minutes 36 seconds
Creator: Appleton, Jon
Partner: UNT Music Library

Hommage à Milanés

Description: Recording of Jon Appleton's Hommage à Milanés. This short work of 5:OO is based on a phrase from a song "si el poeta eres tu ..." composed and sung by the great Cuban artist Pablo Milanés. This sentence appears in the middle of the work. The text is used with different reciters and with the original musical arrangements that convey in a variety of time and places that this song evokes to the composer. This work also suggests various political interpretations, none of which are desired by the composer. This music uses the voice of Marysa Navarro and Perico Irazoqui.
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Date: 1987
Duration: 5 minutes 45 seconds
Creator: Appleton, Jon
Partner: UNT Music Library
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