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The silent god

Description: Recording of Mauro Graziani's The silent god. It is a sound processing work, no synthesized sounds are involved. The beginning sound materials are sounds often used in religious rites and ceremonies, hence the title. Sound material includes: Japanese gongs, Tibetan and Chinese bells, Tibetan trumpets, gamelan, Indian and Middle-eastern harp, western organ, aeolian harp, voices. Processing includes filtering, time and/or pitch changing, delays, freezing, cutting, and mixing. The work was realized at the Centro di Sonologia Computazionale" (University of Padova) in 1980, using the IBM 4381 mainframe and the MUSIC360 software for digital sound synthesis.
Date: 1980
Creator: Graziani, Mauro, 1954-
Partner: UNT Music Library

Sonata

Description: Recording of Þorsteinn Hauksson's "Sonata." Hauksson describs this piece as an exploration into the sound world of electronic music. The piece is named Sonata because it's liberal meaning to make sound. The piece was created in May 1980.
Date: 1980
Creator: Þorsteinn Hauksson, 1949-
Partner: UNT Music Library

Omion

Description: Recording of John van Buren's Omion, performed by Monika Hölszky-Wiedemann, violin. "Omion" is the name of an archaic Byzantine melody-form. the piece revolves around the violin melody which interacts with various sound structures and is overwhelmed by a vast sound continuum at the end.
Date: 1980
Creator: Van Buren, John, 1952-
Partner: UNT Music Library

Suite pour l'Ange

Description: Recording of Michèle Bokanowski's "Suite pour l'Ange" ("Suite for the Angel"). "L'Ange" was the feature film of Patrick Bokanowski, who was Michèle's husband. She wrote the entire accompanied soundtrack for the film. This recording is a part of that soundtrack. (https://en.wikipedia.org/wiki/Patrick_Bokanowski)
Date: 1980
Creator: Bokanowski, Michèle
Partner: UNT Music Library

Fabulas, II Parte

Description: Recording of Ricardo Mandolini's "Fabulas, II Parte" ("Fables, second part"). The sound material is made up of both concrete and electronic sounds, often processed. There are two distinct sections to the piece, marked by differences in tempo, rhythmic character, and differences of size. This work is the continuation of the "Fabulas" piece, composed at the IPEM studio in 1979. It was composed and realized at the studio of the Technical University of Berlin in 1980 with technical collaboration by Folkmar Hein.
Date: 1980
Creator: Mandolini, Ricardo, 1950-
Partner: UNT Music Library

Terpsichore

Description: Recording of Otto Laske's Terpsichore. The piece is in three movements. The first movement is followed by a set of variations of an equally percussive but more song-like nature. The initial two movements have in common extremely fast, often acoustically minute, streams of sound. In contrast, the third movement is overall slower in pace and more song-like. Throughout, the musical flow is punctuated by silences. It is a work of great contrasts of density, registers, and dynamics that owes its title to the Greek goddess of dance. Terpsichore was commissioned by Massachusetts Dance Ensemble, Worcester, MA, for a choreography by Peggy Brightman (Plexus), under a grant from the MA Council on the Arts and Humanities. It was produced in the Computer Science Department of Toronto University, with the aid of the SSSP synthesizer stationed there. The work was performed at the Joy of Movement Center, Cambridge, MA and is dedicated to the choreographer.
Date: 1980
Creator: Laske, Otto E. (Otto Ernst), 1936-
Partner: UNT Music Library

Output

Description: Recording of Gottfried Michael Koenig's Output for tape. This work emerged during the course of Koenig's systematic investigations into the PRIXM/VOSIM system at the Institute of Sonology in 1979. PRIXM is a computer program for making compositions, then either providing a printout in the form of tables or an audible output via the VOSIM sound system. This system is actually intended to inform the composer about pitch, loudness and rhythmic events - a kind of piano reduction. However, different kinds of sounds can be described, making the reduction sound better or even changing it altogether. Although Koenig was not trying to compose a piece of music, he was inspired by one particular event ( = output); he followed its traces by slightly adjusting the input data, eventually arriving at a sound structure which was both typical and aesthetically satisfying.
Date: 1980
Creator: Koenig, Gottfried Michael
Partner: UNT Music Library

Eq

Description: 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.
Date: 1980
Creator: Harrison, Jonty, 1952-
Partner: UNT Music Library

Pacem mundo

Description: Recording of Iván Patachich's "Pacem mundo" ("World Peace") for tape. Uses both concrete and electronic sound materials. The piece begins with a vocal ensemble with a soprano soloist that eventually becomes noticeably electronically manipulated. From then on, the piece switches between the vocal ensemble and other electronic sound material.
Date: 1980
Creator: Patachich, Iván
Partner: UNT Music Library

Études 1 et 2

Description: Recording of Þorsteinn Hauksson's Études 1 et 2.The two etudes are the first works based on research carried out at the Institute for Research and Coordination in Acoustics/Music in Paris for more than a year on the techniques of organization of harmonics in composition. The goal was to find a coherence of composition between micro structure (harmonic structure) and macro structure. The pieces are the first text of using computer programs as a result of the study.
Date: 1980
Creator: Þorsteinn Hauksson, 1949-
Partner: UNT Music Library

Estallido Breve

Description: Recording of Ricardo Mandolini's Estallido Breve. The piece tries to develop in a progressive yet minimalistic way the repetition of a percussion sound, of which the tiniest variations are in the first few milliseconds of the attack. This attack always follows a long extinction, which is also affected by minute changes. The addition of a second kind of sound material, a perpetual crescendo/accelerando, contributes to the accentuation of the dramatic character of this ostinato. The ostinato ends in an explosive short resolution, which explains the title chosen for this piece. The piece was composed in 1980 at the Institute for Systematic Musicology in Ghent, Belgium. It is stereophonic. The piece also existed as a mixed version (Estallido Breve II) for electroacoustic tape and bass clarinet.
Date: 1980
Creator: Mandolini, Ricardo, 1950-
Partner: UNT Music Library

Enchanted Masks

Description: Recording of Joseph Dorfman's Enchanted Masks. It is a concertante work recorded on tape.
Date: 1980
Creator: Dorfman, Joseph
Partner: UNT Music Library

Harmonion

Description: Recording of David Keane's Harmonion. The system employed was a hybrid system comprised of a large modular Buchla synthesizer and an Arp 2500 under the control of a PDP 11-03 micro-processor. The latter was used almost exclusively for precise control information for the amplitude of analog filters (octave, low-pass and band-pass) which processed information derived from 12 to 18 oscillators which were themselves under both manual and analog-program control. "Harmonion" (loosely "that which has been produced by a joining together of separate parts) employs two basic raw material, 1) the triad built of 18 oscillator voices each under manual waveform modification and (2) a thick montage of wide-range random or pseudo-random events with each voice under manual waveform and control. The composers ability to carefully control each of the up to 18 independent voices while the resultant sound mass is treated as a single unit by the computer controlled filters gives rise to the title. The bases of the structures of the piece are several "Themes" comprised of amplitude patterns and a 3-minute long, 10-voice, amplitude canon which appears twice; once with each of the basic raw materials. Harmonion was realized in the summer of 1980 at the Electronic Music Studio of the University of Pittsburgh. The project was supported by the National Endownment for the Arts in co-operation with the University of Pittsburgh.
Date: 1980
Creator: Keane, David, 1943-2017
Partner: UNT Music Library

Ice breaker

Description: Recording of Kevin Jones's Ice breaker. Jones had just traveled from Helsinki to Stockholm by boat across the frozen Baltic Sea, which had been made more difficult due to a strike of icebreaker crews. During the crossing, the magical and mysterious sight of distant plains of ice reflecting the ship's searchlights contrasted strongly with the occasional violent thrusts of the bows ramming into thickly packed ice. The "ice breaker" concept also extends into the interpretation of breaking ice in social relationships. The piece builds up into a succession of waves or thrusts, which eventually break through into a teasing catharsis. A doubtful release unravels in an extended coda. It was realized at the studios of EMS (Electronic Music Studios) in Stockholm, Sweden in March 1980 on a PDP15 computer employed to control a bank of oscillators.
Date: 1980
Creator: Jones, Kevin
Partner: UNT Music Library

Tertiary colours

Description: Recording of Paul Dolden's Tertiary colours. The piece was composed using three individual sound types: inharmonic rhythmic sequences, harmonic and semi-clangorous glissandi, and widely voiced harmonic motifs. The three sound types appear as separate contrapuntal lines or as a single fused timbre. The title arises from the sections in which two of the thee sound types merge into one timbre or colour, "tertiary colours" being a term used in painting for a colour which is produced by mixing two secondary colours together.
Date: 1980/1981
Creator: Dolden, Paul, 1956-
Partner: UNT Music Library

The towers of Hanoϊ

Description: Recordings of Andrew Schloss's The towers of Hanoϊ. Includes four recordings and one reduction. Schloss uses computer for sound and frequency synthesis as well as to control the overall structure of the piece.
Date: 1980
Creator: Schloss, Andrew (Composer)
Partner: UNT Music Library

The thin edge of the wedge

Description: Recording of Andrew Newell's "The thin edge of the wedge." This is the first piece in a triptych of pieces. It is orchestrated for seven electronic instruments, which were realized on a Buchla 200 series synthesizer. The concept behind the music concerns itself with man's position in the world today, which the composers sees as a very dangerous one, with possible self-destruction close at his heels. This piece is as one voice "crying in the wilderness," not meant to soothe, but to alert his fellow man to the evil that seems so near. The piece divides into two large sections which are then subdivided four plus three into subsections. The last subsection is a direct contrast to the first both in context and in attitude. The pitches are based on a number series that derives from the fractional part of the ratio of partials 8 and 7, but this is not a serial piece because the above-mentioned series is used primarily as a series of central pitches around which a random distribution of pitches revolves.
Date: 1980
Creator: Newell, Andrew, 1951-
Partner: UNT Music Library

Mechanical Cartoons

Description: Recording of Paul Pignon's Mechanical cartoons. On the Synthi 100 it is possible for the composer to patch complex systems which can generate musically acceptable trajectories even without control gestures - these are called "organic machines" by Pignon, because they are like beings with an independent life manifested in sound. An important feature for the overall structure of the piece is that one of the organic machines, which has a central role within which the characters of the cartoon act out and are subject to the influence of a previously defined rhythmic pulse train. Although this rhythmic structure is nowhere obvious, it nevertheless biases the overall form.Of the four "voices", the first is the setting already mentioned, featuring richness and variety of sound objects while being rather static in space. The second and third are quasi-human-animal voices that are very mobile in space. The fourth, also mobile, Pignon imagines as a monstrous bird-like figure, although it too occasionally exhibits humanoid characteristics.
Date: 1980
Creator: Pignon, Paul
Partner: UNT Music Library

Inspiravit aeolus

Description: 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.
Date: 1980
Creator: Barbaud, Pierre
Partner: UNT Music Library

Progretto II

Description: Recording of Fausto Razzi's Progretto II, the revised 2006 version. It was originally composed in 1980 at the Center for Computational Sonology at the University of Padova (CSC) with the computer program "Music V." The work was commissioned by the Vience Biennale. Because of the technical and practical limitations of the early computer (eg. the PC was not yet available, the memories had very precise and restricted limits, the recording was still analog and finally the digital / analog converters they were not able to provide a satisfactory sound performance) Razzi considered a new version in "Csound" necessary. This version - which corrects some inaccuracies of the previous one and therefore presents some differences as well - was made in 2006 with the decisive contribution of Nicola Bernardini. In the elaboration of Project II, Razzi used the same criterion used since the end of the 60s - Piano Music - to realize the structures of his works entrusted to traditional instruments. This criterion - which provides for the variation of a module-base (synthetically defined as a canon of durations with several voices) - has among other things allowed, in the case of Project II, a considerable simplification in data storage operations. All the waveforms used in PROGETTO II are of a sinusoidal type: this is a precise choice, mainly dictated by the will to limit the research field to the investigation of the duration of the sound / silence, completely excluding the timbre.
Date: 1980/2006
Creator: Razzi, Fausto
Partner: UNT Music Library

Piezas cortas

Description: Recording of Antonio Russek's "Piezas cortas" ("Short pieces") for tape. Russek calls this piece a "Políptico" or polyptych, which is an "arrangement of four or more panels (as of a painting) usually hinged and folding together" (https://www.merriam-webster.com/dictionary/polyptych). The piece was realized with mixed techniques that were created through Russek's musical studies. It was premiered at the Ciclo de Compositores Mexicanos (Mexican Composers' Cycle) in 1981.
Date: 1980
Creator: Russek, Antonio, 1954-
Partner: UNT Music Library

Passages

Description: Recording of Simon Waters's Passages. Initially, Passages expresses a diliberately restricted sound area, expanding gradually, and then deepening and broadening suddenly after about six minutes. Sounds from the opening section recur spasmodically within the broader context and are eventually heard when the piece contracts again at the end.
Date: 1980
Creator: Waters, Simon, 1957-
Partner: UNT Music Library

Play bach

Description: Recording of Mayako Kubo's Play bach for eight channel tape. Play Bach is mainly based on two elements: first, there is no fixed form and no fixed duration because the composition consists in a mobile-system; second, the sound material uses only the tones B (Si-flat), A (La), C (Do), and H (Si) in different octaves performed by three instruments and with the letters B, A, C, and H spoken with human voice. Because the eight tracks are combined using a mobile system, each performance presents different combinations and thus a different performance each time.
Date: 1980/1981
Creator: Kubo, Mayako
Partner: UNT Music Library