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The difference between a bird

Description: Recording of Peter Plompen's "The difference between a bird" for tape. The piece consists of three parts. The first part was created with a electronic music system. The second part is made with a piano and two microphones. The third part is made with an electronic music system, a piano and a microphone.
Access: Restricted to UNT Community Members. Login required if off-campus.
Date: 1981
Duration: 13 minutes 34 seconds
Creator: Plompen, Peter
Partner: UNT Music Library
open access

Mass/360

Description: Mass/360 is computer music in the sense that the audio tape was realized with a computer language for digital synthesis. This tape is combined with traditional choral and instrumental forces, and demonstrates only one technique available for the use of computers in composition. The work displays a number of elements which afford both unity and contrast. The arch span of the whole is supported by timbral, melodic, rhythmic, and textural parameters. Recurring events include tone clusters, chant-like melodies, angular melodies, and counterpoint. Special vocal effects are found in all movements, and the large scale tonicizing effect of the movement from f to b-flat gives the composition a sense of direction over a long temporal span. The single pitch (doubled unison/octave) arises as the major event in the work, and other events are generated from this element. The use of different formal designs within each movement corresponds to the natural textual divisions found in the liturgy, and affords a contrast from one movement to the next. The relationship of the Gloria/Qui Tollis to the Sanctus/Benedictus, which is not a mirror relation, contrasts with the chiastic design of the whole. Traditional contrapuntal devices juxtaposed against contemporary vocal techniques and the use of diversified timbres from movement to movement add variety to the composition. Controlling parameters in the Mass are timbral, harmonic, textural, and formal. Rhythmic and melodic parameters are of surface importance, and not considered in the higher structural levels of the composition. This particular handling of musical parameters as elements of unification and diversification is the foremost structural force at work in Mass/360.
Date: December 1980
Creator: Bales, William K.
Partner: UNT Libraries
open access

Arabic 1620: An Analysis and Procedure for Composing Computer Music

Description: Computers are used in the music field for generation of sound, for composing music, for analysis of music, and for musicological applications, such as cataloguing a bibliography of music literature. These areas are relatively new aspects of computer usage, and research is being conducted to stay abreast of current technological advancements. Avant-garde composers are challenged by new advances in music. Computer-generated music is one of the new trends, but the composer is usually limited in the use of the medium for two reasons: there are no computers to which he may have access, and/or there is not enough knowledge about computer-generated music. The composer sometimes feels that he must have vast knowledge of the computer before he can attempt to use it in musical composition; however, a limited amount of investigation of computer-generated music has shown that methods can be codified to the point where great technical knowledge is not required of the composer.
Date: August 1968
Creator: Lott, William Loyd
Partner: UNT Libraries
open access

The Contemporary Bassoonist: Music for Interactive Electroacoustics and Bassoon

Description: As the bassoon has evolved over time, the music written for the instrument has evolved around it, and was many times the catalyst for its evolution. Bassoon music of the seventeenth through early twentieth centuries has defined much of the curricula for bassoon studies, and has established how we consider and experience the bassoon. We experience, write, and consume music in vastly different ways than just a generation ago. Humans use technology for the most basic of tasks. Composers are using the technology of our generation to compose music that is a reflection of our time. This is a significant aspect of art music today, and bassoonists are barely participating in the creation of this new repertoire. Performance practice often considers only the musical score; interactive electronic music regularly goes beyond that. The combination of technological challenges and inexperience can make approaching electroacoustic music a daunting and inaccessible type of music for bassoonists. These issues require a different language to the performance practice: one that addresses music, amplification, computer software, hardware, the collaboration between performer and technology, and often the performer and composer. The author discusses problems that performers face when rehearsing and performing interactive electroacoustic works for bassoon, and offers some solutions.
Date: May 2016
Creator: Masone, Jolene
Partner: UNT Libraries

Ensemble: 2012-02-18 - Spectrum

Description: Spectrum concert was performed at the UNT College of Music Merrill Ellis Intermedia Theater.
Access: Restricted to UNT Community Members. Login required if off-campus.
Date: February 18, 2013
Duration: 47 minutes 18 seconds
Creator: Spectrum
Partner: UNT Music Library
open access

Music for Orchestra and Electronic Tape

Description: "Music for Orchestra and Electronic Tape" is an attempt to combine the instruments of the symphony orchestra with electronic sounds which were pre-recorded on tape. The composition is divided into three sections, comprising a large ABA' form with an introduction and a coda. An electronic event occurs between each section.
Date: August 1968
Creator: McMath, William H. (William Houston)
Partner: UNT Libraries
open access

...for the time is at hand : An Original Musical Composition

Description: ...for the time is at hand : An Original Musical Composition, for orchestra and tape, is a single movement work in five overlapping sections with a total duration of approximately twenty minutes. Using a stochastic composition program written in Hewlett-Packard BASIC, the final chord of Stravinsky's Le Sacre du Printemps serves as a "seed" to generate the "pitch density" (vertical pitch distribution), "timbre density"(vertical instrument distribution), and dynamics of the work.
Date: December 1982
Creator: Montalto, Richard Michael
Partner: UNT Libraries
open access

Antithesis: Composition for Chamber Orchestra

Description: Antithesis is a composition, approximately nine minutes long, for chamber orchestra (2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 trumpets, 2 horns, 1 percussionist, prepared electronic tape and strings). Although not formally divided into movements, there are four major sections, analagous to the classical symphony. The primary thrust of the work is to juxtapose opposing timbres, rhythms, and modes of sound generation (instrumental versus electronic) in ways that lead one to another without formal harmonic or melodic logic.
Date: August 1977
Creator: Crocker, R. Dean
Partner: UNT Libraries

Ensemble: 1993-11-22 - CEMI

Description: New music concert performed at the UNT College of Music Merrill Ellis Intermedia Theater.
Access: Restricted to UNT Community Members. Login required if off-campus.
Date: November 22, 1993
Duration: 1 hour 24 minutes 48 seconds
Creator: University of North Texas. Center for Experimental Music and Intermedia
Partner: UNT Music Library
open access

Tele: Using Vernacular Performance Practices in an Eight-Channel Environment

Description: Examines the use of vernacular, country guitar styles in an electro-acoustic environment. Special attention is given to performance practices and explanation of techniques. Electro-acoustic techniques-including sound design and spatialization-are given with sonogram analyses and excerpts from the score. Compositional considerations are contrasted with those of Mario Davidovsky and Jean-Claude Risset with special emphasis on electro-acoustic approaches. Contextualization of the piece in reference to other contemporary, electric guitar music is shown with reference to George Crumb and Chiel Meijering.
Date: August 2003
Creator: Welch, Chapman
Partner: UNT Libraries
open access

Summer Rain Part I Summer Rain - Dawn for Two-channel Tape; Part II After the Summer Rain for Piano and Two-channel Tape

Description: This dissertation contains five chapters: 1. Introduction, 2. Basic Digital Processing Used in Summer Rain, 3. Part I Summer Rain - Dawn, 4. Part II After the Summer Rain and 5. Conclusion. Introduction contains a brief historical background of musique concrète, Electronische Musik, acousmatic music and music for instruments and tape, followed by basic descriptions of digital technique used in both parts of Summer Rain in Chapter 2. Also Chapter 2 describes software used in Summer Rain including "Kawamoto's VST," which is based on MAX/MSP, to create new sounds from the recorded samples using a Macintosh computer. In both Chapter 3 and 4, Kawamoto discusses a great deal of the pre-compositional stage of each piece including inspirational sources, especially Rainer Maria Rilke's poems and Olidon Redon's paintings, as well as her visual and sound imageries. In addition Chapter 3 she talks about sound sources, pitch, form and soundscape. Chapter 4 contains analysis on pitch in the piano part, rhythm, form and the general performance practice. Chapter 5 is a short conclusion of her aesthetics regarding Summer Rain, which is connected to literature, visual art and her Japanese cultural background.
Date: December 2001
Creator: Kawamoto, Hideko
Partner: UNT Libraries
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