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950 for Bob

Description: Recording of Terry Setter's 950 for Bob. He describes this style of composition as "focusless music," which is structured in such a way that the listener always hears an undifferentiated sound continuum, making the smallest changes noticeable. The title refers to the length of the piece (950 seconds) and to Robert Ericksson, to whom the piece is dedicated.
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Date: 1980
Creator: Setter, Terry
Partner: UNT Music Library

L'agrippe des droits

Description: Recording of Henri Chopin's L'agrippe des droits. One male voice reads the poem which is then electronically processed. Written for Christian Clozier. Henri Chopin's "Audiopoems" was originally realsed on cassette by Edition Hundertmark as 89. Karton in 2001. Only 500 copies were released.
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Date: [1980, 1995]
Creator: Chopin, Henri
Partner: UNT Music Library

Atmen noch

Description: Recording of Teresa Rampazzi's Atmen noch. After many months of researching the relationships between harmonic or better harmonic spectra, this piece was the result of that research. This research was done jointly with Rampazzi's student Maria Luisa Bon. The form of the work is sets of stamps and association between them and a Grecian-inspired Cantus Firmus. The groups are figurations of galaxies out of time.
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Date: 1980
Creator: Rampazzi, Teresa
Partner: UNT Music Library

Anticredos

Description: Recording of Trevor Wishart's Anticredos performed by Trevor Wishart. It is a live-performance piece for six amplified voices using extended vocal techniques, but no electronic modification of the voices. The piece, commissioned by the English group "Singcircle," takes the word "Credos" and slowly dissolves and changes its sound-constituents through processes of gradual transformation. This recording is a studio version of the piece "sung" entirely by the composer.
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Date: 1980
Creator: Wishart, Trevor
Partner: UNT Music Library

Any resemblance is purely coincidental

Description: Recording of Charles Dodge's "Any resemblance is purely coincidental" for tape. The piece aspires to represent the voice of Enrico Caruso in much the same way that Andy Warhol represented the figures of contemporary popular culture in his silk screen portraits: the voice is unmistakably that of Caruso, but with a difference. In "Any resemblance is purely coincidental," an operatic voice searches for an accompaniment: with the original orchestra, with copies of itself, with the piano, and with other computer sounds. The initial attempts are humorous; subsequently, other emotions are evoked until the loneliness of the "great performer" emerges. The voice is made with computer synthesis based on a 1907 recording of the aria "Vesti la giubba" from Ruggiero Leoncavallo's I Pagliacci sung by Enrico Caruso.
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Date: 1980
Creator: Dodge, Charles
Partner: UNT Music Library

Chile

Description: Recording of Frank Nuyts's "Chile" from Un pais arrellanado por los Andes. It is the first part of the larger work. The second piece is entitled "1973, algunos testimonios." "Chile" is a kind of descriptive characteristic prelude, evoking the country-side with its Cordillera of the Andes but also with its sad and immense plains. The piece was realized in 1980 in the studio of the Institute for Systematic Musicology (IPEM) using Synthi 100.
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Date: 1980
Creator: Nuyts, Frank
Partner: UNT Music Library

Chronos

Description: Recording of Ton de Leeuw's Chronos. The piece is a journey through time, bringing together elements from the depths of the ages (some archaic, folkloric or quasi-folkloric formulas) and other material, that of our time: subjects and report that have always made people passionate.
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Date: 1980
Creator: Leeuw, Ton de, 1926-1996
Partner: UNT Music Library

L'approche de la lumière

Description: Recording of Daniel Arfib's L'approche de la lumière ("The Approach of the Light"). The piece functions as much as a sound experiment on the resonance of the vibrations as of sound as a concert piece. For the entire listening experience, pay particular attention to the quality of the silence before and after the performance.
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Date: 1980
Creator: Arfib, Daniel
Partner: UNT Music Library

96

Description: Recording of Sten Hanson's 96. "According to Amnesty International, there are 96 countries in the world that have political prisoners. In most of these countries, there is clearly physical or mental torture that is punishable by law and unlawful killings." Sound material includes sounds of doors shutting, locks locking, bells, ringing, etc.
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Date: 1980
Creator: Hanson, Sten, 1936-2013
Partner: UNT Music Library

Chalumeau Rain

Description: Recording of Reed Holmes's Chalumeau Rain. The piece demonstrates the composer's concept of music as sound flow (a texture existing in time and space). For this reason, many of the clarinet sounds assume a gestural/electronic character. Chalumeau is a lyric expression of the electronic medium. The composer unites the live and electronic by using live clarinet sounds in the tape which have been manipulated by tape loops, reverb, phase shifting, reverse playback, amplitude modification and filtering. All pitch material is derived from a five note collection. Pitch material is developed by mains of various contours. Ascending, thrusting pitch series are expositional or developmental. Arch shapes exhibit stability and a relaxed character. Descending pitch contours provide or signal closure. Assignment and occurrence of these structural functions in Chalumeau is not simple. The composition grows from an interaction and mutual influence of the pitch and gestural ideas; often one idea dominant and others are struggling to predominate. Momentum and directed motion are additionally achieved by rhythmic activity and textural manipulations.
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Date: 1980
Creator: Holmes, Reed
Partner: UNT Music Library

Chacoel (Musik für den frühen Abend)

Description: Recording of Martin Rudolf Schwarzenlander-Fischer's "Chacoel (Musik für den frühen Abend)" for tape.
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Date: 1980
Creator: Fischer, Martin
Partner: UNT Music Library

C.A.S.

Description: Recording of Boyko Stoyanov's C.A.S. Stoyanov was inspired by the interpretation of Chopin's Op. 30, no. 1 by the Japanese pianist Rikako Akatsu, performed at the Chopin Piano Competition in Warsaw. In this work, the composer wanted to create a unique form, the basis of which provided by the electroacoustic music.
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Date: 1980
Creator: Stoyanov, Boyko
Partner: UNT Music Library

Pathways: seven sonic variations

Description: Recording of Reynold Weidenaar's "Pathways: Seven Sonic Variations." The piece sonsists entirely of processed tape-shoe sounds, based on a one minute and ten second long step pattern. This was performed and recorded in stereo with pressure-zone microphones. Each variation is a different tap performance and sonic interpretation of the original score.
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Date: 1980
Creator: Weidenaar, Reynold, 1945-
Partner: UNT Music Library

Que sera Sarah ?

Description: Recording of Daniel Tosi's "Que sera Sarah ?" It is a piece for piano and magnetic tape
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Date: 1980
Creator: Tosi, Daniel
Partner: UNT Music Library

The vengeance, a ballet

Description: Recording of Robin Julian Heifetz's "The Vengeance," a ballet. It is programmatic in content. As a young boy, the composer accompanied his father – a writer – on research trips to the Indian pueblos of New Mexico where he spent two summers. These experiences made lasting impressions upon him. Years later, while conducing his own research in the cultural anthropology and ethnomusicology of the North American Indians, he discovered shocking documentation published in journals in the U. S. Bureau of Ethnology which provided evidence that the U.S. Army – as a matter of official government policy – had actively distributed Small-pox- and Cholera-infected blankets and clothing among the Indians in an effort to decimate them. This practice began in the mid-1700s and continued for about 100 years, ending in 1865 at the close of the American Civil War; actually, this practice ended in 1865 as a matter of official government policy only, for it has been conjectured by some authorities that the practice was continued covertly until 1900. The program of the work may be divided into two main sections: Part I, “Infection and Aftermath: is 10’48” in length; Part II the “Vengeance” itself, is 10’50” in duration and symbolizes the violent retribution the Indians might have inflicted against the “White Man” had they not been so utterly weakened and diminished in numbers. “Infection” is characterized by a high density of activity, as if to suggest the suffering and severe pain undergone. “Aftermath” is characterized by a low density of activity as well as frequencies in a low frequency range. No attempt has been made to imitate Indian music, although there are certain rhythmic structures and pitch contours in “The Vengeance” - at moments the result of complex juxtapositions – which may be constructed to derive from Native American music. ...
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Date: 1980
Creator: Heifetz, Robin Julian, 1951-
Partner: UNT Music Library

Tryptik - pamieci Franco Evangelisti

Description: Recording of Eugeniusz Rudnik's "Tryptik - pamieci Franco Evangelisti". The work is dedicated to the memory of Franco Evangelisti, a pioneer of electronic music. The sound material of this piece consists strictly of electronic sounds created using a MOOG synthesizer. It was realized at the Experimental Studio of the Polish Radio in Warsaw 1979-1980.
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Date: 1980
Creator: Rudnik, Eugeniusz
Partner: UNT Music Library

Juego de marionetas

Description: Recording of Ricardo Mandolini's "Juego de Marionetas" ("Puppet play"). The piece is a descriptive approach to the world of small percussion using recorded percussion sounds that have been electronically processed. The fundamental characteristic of the piece is the rigorous eceomy of means. It was composed in 1980 at the Studio of Musikhochschule in Cologne.
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Date: 1980
Creator: Mandolini, Ricardo, 1950-
Partner: UNT Music Library

Das unrecht in meinem bad

Description: Recording of Martin Rudolf SchwarzenLander-Fischer's "Das unrecht in meinem bad" ("Injustice in my Tub") for tape.
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Date: 1980
Creator: Fischer, Martin 1955-
Partner: UNT Music Library

Just Behind the Horizon

Description: Recording of Józef Rychlik's Just Behind the Horizon for tape. This music, composed "without filtering", uses a range of timbres made by different programming of the values of heights, time, intensity, and specific acoustic music reactions for some kinds of impulses. Each motif, even in the second polyphonic part, are made of several layers. Each layer is an "automatic game sequence," which allows for the process of semi-automatic composition. Along with this idea, the ability of this piece to go beyond the nature of this apparatus and to compose a work that is independent of the "natural aesthetics" given by the machine is a key foundation of the piece.
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Date: 1980
Creator: Rychlik, Józef, 1946-
Partner: UNT Music Library

The harvest of sorrow and loneliness

Description: Recording of Robin Julian Heifetz's The harvest of sorrow and loneliness. This work is elegiac in character and is best summed up in the following poetic passage from Thoms Wolfe's "From Death to Morning": "There has been... loneliness enough... to crust (my) lips with its hard and acrid texte of desolation... (For I had) heard the... music... crying and singing a strange and bitter prophecy of love and death... (and I had seen) my brother... die in the dark in the dark mid-watches of the night, and I (had) know... the figure of... Death when he had come..." The piece was realized during a period of the composer's depression and proved to be a cathartic experience for him.
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Date: 1980
Creator: Heifetz, Robin Julian, 1951-
Partner: UNT Music Library

Gioco di velocità

Description: Recording of Roberto Doati's Gioco di velocità. All sound material in the piece was syntheitically created by Doati. The macrostructure of the piece is made up by seven different curves which correspond to the graphic representation on a two-dimensional space with frequency as the ordinate and time as the abscissa, of the variations of as many circumference arcs. This macrostructure determines the formal parameters (repetition series, action time, duration, number of voices, movement in the time-frequency space) of seven kinds of polyphonic rhythmic structures; these are graphically generated on the score mentioned above not with the intention to reach a musical parallel of them, but because previous experiences have shown that the formal perception of both visual shapes and acoustic events are ‘controlled’ by the same laws. The composition was realized in the facilities of the Centro di Sonologia Computazionale at the University of Padova.
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Date: 1980/1981
Creator: Doati, Roberto
Partner: UNT Music Library

Gwendolyne descendue !

Description: Recording of Bernard Gagnon's "Gwendolyne descendue !" for tape. Gwendolyne is an underground comic character from the 1940s. Read first glance, her adventures only seem to be excuses for exploring the possibilities of bondage, but the unity of style pervading even the smallest symbols and the obstinate repetition within the strict limits of a closed world gives them an esoteric aspect that inspired the piece. It tells the story of the forced disappearance of the heroine. The piece is dedicated the Gwendolyn's creator, John Willie.
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Date: 1980/1981
Creator: Gagnon, Bernard, 1953-
Partner: UNT Music Library

Kosketus - Touch

Description: Recording of Pekka Sirén's Kosketus - Touch for tape. The piece is based on two things: the musical meaning of the instrument player's touch to his/her instrument and the way of playing; also the physical happening, the reaction to a new or sudden contact understood on emotional level particularly interested Sirén. This composition has roots to his very first experiments on sound and electronic production of the sound. All sounds have very similar origin they come from a record player pick-up. Sound processing mainly has been done to crystallize the original sounds and to give them a sounding body. The piece was realized in the Experimental Studio YLE.
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Date: 1980
Creator: Sirén, Pekka
Partner: UNT Music Library

Fusion

Description: Recording of Serge Perron's Fusion. This piece was composed while Perron was studying electronic music with Alcides Lanza and Mariano Etkin at McGill University's electronic music studio. The tape part was entirely derived from ten piano sounds which were modified in various ways using "classical" electronic music studio techniques: loops, speed variation, equalization, playing backwards, and editing. The piano part calls for a new kind of virtuosity - that of staying tightly synchronized with the tape, which does not have any fixed tempo. At times, controlled improvisation is asked of the interpreter, in which he or she determines during the performance the order of occurrence of certain chordal elements.
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Date: 1980
Creator: Perron, Serge, 1954-
Partner: UNT Music Library