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Act of Opening

Description: "Act of Openings" is a stereo composition made with Moog analog synthesis modules. Composed in 1968, its duration is 17'27. The score of the composition is a dense and modulated sound characterized by carefully controlled phase relationships. All the rhythmic and harmonic elements of the piece derive energy from a long, brilliant sound. Each part of the room is another glimpse of this sound, as a set of flowers form a bouquet. "Act of Openings" received the 2nd Prize at the 1969 Dartmouth International Electronic Music Competition.
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Date: 1969
Duration: 17 minutes 28 seconds
Creator: Weiss, Jonathan, 1949-
Partner: UNT Music Library

Chronique

Description: Along it seven sections this piece refers to or uses literally, sound materials and structural devices of works produced by the author since 1985. It is also the account of the exploration, during the last two years of possible interplays betwean different equal tampered scales. In Cronique, this exploration is centered on the integration of two equaly tempered systems : the half tone scale and the quarter tone scale, oriented to obtain through their interaction neet qualities (simulation of acoustic instruments, half tone system), and diffuse qualities (new sounds, quarter tone system). The "neat" sounds submerge or emerge from the diffuse fields characterized by the quarter tone scale. This interaction is ment to obtain timbric qualities ruther than melodic events. The piece has been realized by means of an E ! equiped DX7 II synthesizer and includes a solo part played live on this synthesizer.
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Date: 1990
Duration: 20 minutes
Creator: Kröpfl, Francisco, 1931-
Partner: UNT Music Library

Yuevents 90

Description: Concerning its basic concept,the piece should have been inspired, as the organizers of the Synthèse FIMEB suggested it, by the extraordinary events in the East European countries. Though the abrupt changes of society structure,development of political pluralism, decline of communism, separation economics from politics could be the common features of all the countries, there is something specific in the Yugoslav political situation. The changes in Yugoslavia are not so bloody as in Romania but are complex like in Russia and can be only partly expressed by musical and verbal means. Some of them are characterized in the piece by specific words, rhythms and tune fragments which are musically worked out. Thus, the Albanian separative tendency is represented by words "gjaku" /blood/and "demokracia" /democracy/ shouted out by Albanian terrorists; the Clovinian wish to join Europa - by "Europa zdaj" /Europa now/; the hegemony of Croatian chauvinistic tendency - by "HDZ " /Croatian Democratic Party/; the gratitude of Serbian people for the restoration of their rights to be Serbian - by "Slobo/Slobodan Milosevic, President Of Serbia/- slobodo/freedom", etc. All the sung and spoken material was processed by means of a sampler/Akai S 1000/ and mixed with synthetic sounds. The form of the piece is evolutive, without resolving "cadence" - like the events themselves are.
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Date: 1990
Duration: 9 minutes 30 seconds
Creator: Radovanović, Vladan, 1932-
Partner: UNT Music Library

Arcane 11

Description: The different sound materials of the work come from commercial synthesizers (DX7 / D50). The SAMI (Computer Assisted Music Support System), developed by Bernard Donzel-Gargand and Adrien Lefevre (IRCAM), allowed me to create this music. This instrument offers various access commands such as: - joy-sticks, - photocells, - pedals, who can each, according to our imagination, drive real-time music parameters (change of timbre, velocity, frequency according to modes, ranges, series, tempo, speed etc ...). The final version of the work is the result of mixing a 3-part score. An Arcane is a mysterious, secret operation of alchemists. Are we not alchemists of the sound world, we musicians? Eleven is, for the Arabs, the number of the knowledge of God, which passes through 11 stages: - the will corresponding to self-control, - abstinence and music that bring purification, - time, stage of the wander between self-awareness and God, - the image of God reflected in every creature, - the end of worry, - perfect tranquility and permanent ecstasy, - the outburst out of oneself, - the possibility of going up to God, - the loss of the will, - the return trip with God, - permanent contemplation giving the power to work miracles.
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Date: 1990
Duration: 10 minutes 19 seconds
Creator: Donzel-Gargand, Bernard, 1945-
Partner: UNT Music Library

Nautilus

Description: Nautilus was commissioned by Newfoundland clarinetist Paul Bendzsa (with the assistance of a Canada Council Commissioning Grant). The work will have its premiere performance in July at the Sound Symposium, a biennial festival that takes place in St. John's, Newfoundland. This performance in Bourges substitutes a synthesized clarinet for the live soloist. The nautilus is a sea mollusk that erects an impressive chambered shell. The music makes the analogy of the clarinet as the living creature and the electronic sound as the shell which grows ever larger and increasingly beautiful. At first the solo and accompaniment are relatively indistinguishable from one another, but in time they become quite separate and in the end only the inert shell remains. Nautilus was realized in the composer's personal studio in Toronto.
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Date: 1988
Duration: 43 minutes 52 seconds
Creator: Keane, David, 1943-2017
Partner: UNT Music Library

Koan

Description: This work uses as its source material a set of Thai gongs housed in the Ethnomusicology Department of Victoria University in Wellington, New Zealand. These gongs are tuned to seven-note equal temperament. This scale is used as the basis of the work's tuning. The gongs and a set of wind chimes were transformed by means of a Fairlight III digital synthesizer into the sound materials of Koan.
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Date: 1989
Duration: 8 minutes 45 seconds
Creator: Harris, Ross, 1945-
Partner: UNT Music Library

Pre-Exposure or A May of 20 Mays

Description: Created with analogue and digital synthesizers for the 20th anniversary since the French May of 68. It was released as part of a collection during the Bienalle of Bolognia in 1988.(COI DISCHI-ITALY).
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Date: 1988
Duration: 12 minutes 10 seconds
Creator: Stratodakis, Constantin, 1963-
Partner: UNT Music Library

Haiku

Description: This short work was composed using a tuning system of the harmonic series of three fundamental pitches. The FM sounds were produced using a Yamaka TX81Z with articulation points from an Emulator II sample of a shakuhachi.
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Date: 1987
Duration: 5 minutes
Creator: Harris, Ross, 1945-
Partner: UNT Music Library

Masked Rituals

Description: Experiments with Barry Truax's real-time granular synthesis led to the raw ritualistic sounds which form the core of this piece. Both vocal samples and FM grains are used and interelated as much as possible. The masks of the title refer both to a technical level where tendency masks formed the basis of much of the programming, and a more abstract level where the vocal and FM sounds are 'masked' as much as possible to present a unified whole. I also like the suggestive imagery of these words, although no specific masks or rituals are being described.
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Date: 1989
Duration: 17 minutes 28 seconds
Creator: Elmsly, John
Partner: UNT Music Library

La Confession

Description: This work was created from a story entitled "The Confession" that I wrote in 1989. In Spanish originally, it was translated into Hebrew, French, English and German. Some of these texts in different languages have been integrated into the work. "Confession" records the psychological oscillations - from mental stability to madness or vice versa - that the protagonist goes through. "The Confession" of the human voice, the electronic instruments (synclaiver), the acoustic instruments (harp, trombone, cello, flute, percussion) and the concrete sounds create a semantic interaction with the syntax of the musical language.
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Date: 1989
Duration: 8 minutes 23 seconds
Creator: Schmilovich, Sergio
Partner: UNT Music Library

Fatti non foste per viver come bruti...

Description: It has been composed and synthesized between March and May 1989. It is based on two typical musical situations: tension-waiting and relax-solution alternated in a formal enharmonic and arhytmic contest. Tension/relax is the dualistic engine of the world and in this case it represents the question and the answer, ignorance and knowledge. The work has been done using music languages (Cmusic, Music360) and commercial devices. Cmusic and Music360 implemented at DIST of Genoa University and at CSC of Padua University. Commercial software Digidesign Softsynth and Turbosynth on a Atari ST 1040 and Additive, frequency modulation and sampling synthesis. Technical notes: Languages: CMusic, Music360 Programs: C-Lab creator, Digidesign Softsynth Midi controllers: Steinberg Computers: Atari ST 1040, VAX 11/750, IBM 360 Tape machines: Revox A77, VTR Panasonic NV-H75 HiFi Mixer: Boss Km 60 Analog signal processors: Cabre AF34 stereo equalizer, Dynacord MDL10, Korg A3 multi processor Synthesizers: Yamaha TX81Z Samplers: Roland S50, S550, S330
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Date: 1989
Duration: 8 minutes 08 seconds
Creator: Pedrazzi, Marco, 1959-
Partner: UNT Music Library

Chroniques

Description: Chronicles comes from certain possibilities offered by the technique of sampling A certain return to concrete music where the spectral content of sounds is particularly rich. The materials used here are mostly instrumental items. The sequence of different movements is treated as a succession of news items belonging to the same heading, without having a systematic relationship between them (literary chronic <-> chronic sound). The score is interpreted with 4 musical objects sampled on AKAI S900 and two types of sounds created respectively by Additive Synthesis (FFT) and Frequency Modulation (FM).
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Date: 1988
Duration: 11 minutes 59 seconds
Creator: Donzel-Gargand, Bernard, 1945-
Partner: UNT Music Library

No User-Servicable Parts Inside

Description: This piece is performed entirely in real-time from a classic clavier-type keyboard, and vocally. There are not pre-recorded tapes or interactive systems involved. The composer is the sole performer.
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Date: [1986,1987]
Duration: 11 minutes 56 seconds
Creator: Taylor, Joseph, 1951-
Partner: UNT Music Library

Douze Regards dans le Monde du Son

Description: The piece was made in 1970 with the ANS synthesizer from Murzin. The work begins with an introduction made with an instrument of the family of jew's harps, the "Temir-Komonz", Kyrgyz instrument whose sound is produced by the pinching of a small steel blade and whose resonator is the oral cavity . During the performance, there is a permanent drone, the basic sound of the harmonic scale. The melody is modulated by changing the opening of the mouth. In German, it is called "Monltrommel" (drum of mouth). 12 parts: first part: "The acoustic versions", second part: "The spectral line", third part: "The decomposition of the timbre", fourth part: "The harmony of the timbre", fifth part: "Variations of the movements and of rhythm ", sixth part" The inverted harmonic versions ", seventh part:" Horizontal-vertical polyphony ", eighth part:" The variation ", ninth part:" The symbolism ", tenth part:" The mounting of the stamp ", eleventh part: "Free play", twelfth part: "It's the same timbre in a free game of all its harmonic sounds that are reproduced in a free rhythm at an even dynamic level. To continue these variations could be interesting. The general line of the variations is the passage by zones and blocks towards the separated harmonics, towards their destruction and in the contrasted sense by collecting together the harmonics. The timbre space - this is the space of perspective. From here comes the form of the composition - from unity to the details that make up the structure.
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Date: 1970
Duration: 13 minutes
Creator: Artemiev, Eduard, 1937-
Partner: UNT Music Library

Torrent

Description: From his piece "Torrent", he says that it was composed in 1969 on the ANS synthesizer in the Moscow studio. It is a canon whose theme is the scale of natural sounds (first and sixteenth). The graduated superimposition of the voices of the canon even towards culmination and after towards tranquility.
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Date: 1969
Duration: 6 minutes 03 seconds
Creator: Schnittke, Alfred, 1934-1998
Partner: UNT Music Library

Phases - Events

Description: Recording of Enström's Phases - Events
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Date: 1976
Duration: 12 minutes 35 seconds
Creator: Enström, Rolf, 1951-
Partner: UNT Music Library

Pashanti (Les 9 Milliards de Noms de Dieu)

Description: 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.
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Date: 1979
Duration: 1 hour 17 minutes 35 seconds
Creator: Jones, David Evan
Partner: UNT Music Library

Points de fuite

Description: Recording of Francis Dhomont's "Points de fuite" ("Vanishing Point").,It was realied at the composer's studio in Montreal in 1981-82 and was premiered on June 13th, 1982 at the 12th Bourges International Electroacoustic Music Festival.
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Date: 1982
Duration: 12 minutes 29 seconds
Creator: Dhomont, Francis, 1926-
Partner: UNT Music Library

Synthana

Description: Recording of Branimir Sakač's Synthana, made in collaboration with Paul Pignon. Sakač describes this piece as an attempt to coerce the machine to "yield his feeling of the moment," which results in a desire for simplicity, for extended durations which bring security.
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Date: 1973
Duration: 10 minutes 06 seconds
Creator: Sakač, Branimir, 1918-1979
Partner: UNT Music Library
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