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Oral History Association Business Meeting

Description: Sound recording of members of the Oral History Association conducting a meeting in 1981.
Date: 1981
Creator: Oral History Association
Partner: UNT Libraries Special Collections

Walking Bells

Description: Recording of David Porter's Walking Bells for tape. The piece is a tour through an environmental/concrete landscape. It is another variation on the "cumulative form." This is the second in a series of four tape pieces. As with all these pieces, this piece comments on political and compositional methods and devices. In this instance, the piece makes reference to another composer whose style is borrowed. Other than that, it is pure experience. This piece should be listened to with speakers placed well apart and volume up the the highest comfortable level at the last two minutes of the piece.
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Date: 1981
Creator: Porter, David, 1953-
Partner: UNT Music Library

Spattering... A shower

Description: Recording of Robert Rowe's "Spattering... A Shower." This piece of computer music focuses on the organization of sound and the process of adopting the medium of a digital computer to produce music compositions.
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Date: 1981
Creator: Rowe, Robert, 1954-
Partner: UNT Music Library

St Henry's Tribe Memorial Anthem

Description: Recording of Jarmo Sermilä's "St Henry's Tribe Memorial Anthem" for tape.
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Date: 1981
Creator: Sermilä, Jarmo, 1939-
Partner: UNT Music Library

Dictée

Description: Recording of Bernard Gagnon's Dictée for tape. The majority of the material was executed in real time. The instruments used are voice, a pencil, and also a few oscillator sounds. An oscillator provided a wave that was delayed by tape, and then turned into a voltage to modulate the early sound: a self-modulating delay loop. The piece is a reflection on the anxiety of first learning to write as well as on the degrees of the distances of the writing. The dictation comes from a loudspeaker, while the writer's reactions and his perception of the loudspeaker are captured on the other channel using a microphone. We hear in succession and by degrees of writing: 1. The dictation only. 2. The presence of someone who listens. This presence is signaled by a microphone feedback on the other channel and then a cough. It is good here to specify that the feedback effects are voluntary and controlled. 3. The message changes channel because it becomes the pencil noise of the writer. 4. The transformations that the message undergoes as well as the act of writing of the character who, one realizes, dictates himself. 5. Echoes of his reactions, a kind of subjective consciousness. The subject is played with pencil. 6. Transformations of its same reactions. 7. A kind of connivance gun between dictator and dictation. 8. Bursting of personality.
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Date: 1981
Creator: Gagnon, Bernard
Partner: UNT Music Library

Conversations

Description: Recording of Werner Kaegi's Conversations: Partie 2: Automne.
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Date: 1981/1982
Creator: Kaegi, Werner
Partner: UNT Music Library

Son recif

Description: Recording of Jacqueline Ozanne's "Son recif" for voice and tape. This piece comes from a work on the myth of the sirens and includes texts written on this theme in their original languages. As the singer/speaker repeats the story, it is crossed by the sounds of these languages, by songs that cannot continue, as well as successive states of emotion. The electroacoustic tape plays a constant dramatic role: sometimes worrisome, sometimes reassuring, sometimes enveloping presences, it continually influences the interpreter in their vocal and dramatic production. The performance includes a video projection.
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Date: 1981
Creator: Ozanne, Jacqueline
Partner: UNT Music Library

Spasme

Description: Recording of Jan Oleszkowicz's Spasme for tape.
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Date: 1981
Creator: Oleszkowicz, Jan
Partner: UNT Music Library

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.
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Date: 1981
Creator: Plompen, Peter
Partner: UNT Music Library

Static arches

Description: Recording of Thierry Lancino's Static arches. The inspiration for this piece dates back to June 1980 when Lancino first crossed the desert in Utah, particularly the Arches National Monument which is an infinite space of massive stone arches carved over time. Apart form the visual connotation, principles of intertwined independent arches is applied to the architecture of the piece itself, as well as tho the "filling" of the quadraphonic space, this helping the appearance of sonic sound holograms. The piece was entirely computer generated. The "Foonly" computer was in interface with a synthesizer-processor in real time called the Samson Box, a prototype which was designed and built by Peter Samson at System concepts in San Franscico. The method of synthesis is the frequency modulation of John Chowning. The compositional algorithms were developed thanks to Bill Schottstaedt's "Pla" program. Static arches was realized in the studios of Computer Center for Research in Music and Acoustics (CCRMA) at Stanford University, California, from November 1980 to March 1981.
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Date: 1981
Creator: Lancino, Thierry
Partner: UNT Music Library

The fly

Description: Recording of Takehisa Kosugi's The fly for tape.
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Date: 1981
Creator: Kosugi, Takehisa, 1938-
Partner: UNT Music Library

Una pulce da sabbia

Description: Recording of Roberto Doati's "Una pulce da sabbia" ("A Sand Flea") for tape. This work utilizes a timbre space built on three dimensions: spectral energy distribution, spectral fluctuation, and high frequency energy which precedes the full attack of the tone. The sound synthesis models used are simple waveshaping and FM. The overall structure of the composition is generated by the projection on a two-dimensional space with frequency as the ordinate and time as the abscisa, of an architectural structure plan. Doati achieved the desired temporal extension by means of the ‘slowing perspective’ technique. As regards the choice and the treatment of the macrostructure and its internal organization, they depend exclusively on the compositional parameters: symmetry, regularity, direction, velocity, focus and flight point (terms borrowed from the visual arts world). The internal temporal organization of the polyphonic rhythmic structures that make up the macrostructure is given by the position of the focus. This one is determined too by the parameters above mentioned. Each structure takes the timbre that occupies the corresponding position in the timbre space. It was realized at the facilities of the Centro di Sonologia Computazionale at the University of Padova.
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Date: 1981/1982
Creator: Doati, Roberto
Partner: UNT Music Library

Quadratwellenklangwurst

Description: Recording of Martin Sierek's Quadratwellenklangwurst. The piece is based on micro-intervals through the use of square-wave oscillations. These exact intervals were only achievable with a digital rectangle generator. In the composition, the higher pitched parts of the two harmonies are fed to the cohesive basic tones and a whole sound becomes a glittering sound spectacle. The intervals and the number of individual rectangles constantly increase during the composition and generate acoustic phenomena and end in a cluster. The only "ordinary" intervals, a big second after and then a minor third, are just decoration.
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Date: 1981
Creator: Sierek, Martin 1958-
Partner: UNT Music Library

Oboe

Description: Recording of Ulrich Suesse's Oboe. There are basically two considerations for the application of tape 2 :1) It can be a source of inspiration during the performance and/or 2) It can be a source for "overloading" the piece, bringing it near the breaking point. Its actual application (or non application) depends on the intention of the performer. An existing version of tape 2 can be used or a new, unique, completely unknown version can be created: a copy of tape 1 is to be used as the source material; it should be spliced apart, rearranged and mixed "BLINDY", yet with respect to the following 6 categories: a) SOUNDLAYERS are superimposed pieces of pieces of tape (dubbing); b) STINGS are anything with crescendo (to be realized at the performance through volume control); c) HIGH NOISES are pieces of tape at doubled, tripled playback speed with or without hiss; d) POINTILLISM is interjecting anything in short attacks (for instance through starting and stopping the tape); e) WAVES are done through various glissando-like speed manipulations; f) LOW NOISES are pieces of tape at lower playback speed with or without reverberation.
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Date: 1981
Creator: Suesse, Ulrich
Partner: UNT Music Library

Out of Sight

Description: Recording of Åke Parmerud's "Out of sight." Originally composed as part of a multimedia work (The Flood Glass), this version is the independent concert version. The main purpose of this piece is to explore the borders of sound-synthesis using only single-FM technique.
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Date: 1981
Creator: Parmerud, Åke, 1953-
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
Creator: Aharonián, Coriún, 1940-
Partner: UNT Music Library

Targeting

Description: Recording of Henry Kucharzyk's Targeting for tape. The piece is based on the composers personal observations of the presidential campaign.
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Date: 1981
Creator: Kucharzyk, Henry
Partner: UNT Music Library

La Tête d'Orphée II

Description: Recording of Elżbieta Sikora's La Tête d'Orphée II. the piece is based on the story of Orpheus returning from hell to find Euridice. Commissioned by the Experimental Studio at the Polish Radio in Warsaw in 1981 and was composed in the same studio with the technical collaboration of Barbara Okon-Makowska. It was premiered during the "Warsaw Autumn" festival in September 1981.
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Date: 1981
Creator: Sikora, Elżbieta, 1943-
Partner: UNT Music Library

Suiana Wanka

Description: Recording of Fernando Condon-Garcia's Suiana Wanka for tape. This work collects and develops independently the materials of a music scene for Peter Shafer work "The Royal Hunt of the Sun". It is based exclusively on sound recordings of various Latin American instruments such as the Indian flute, pincuyos, sicus, tarkas, mohecenos, various kinds of percussion, etc., to which are added, during some passages, instruments from European culture (organ, flute, bass). The original sound was made in a professional studio, and the final realization was made in ELAC, a small Montevideo studio, with the technical assistance of Carlos Da Silveira.
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Date: 1981
Creator: Condon, Fernando, 1955-
Partner: UNT Music Library

Polyphonie

Description: Recording of Alireza Mashayeki's Polyphonie.
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Date: 1981
Creator: Mashayeki, Alireza, 1940-
Partner: UNT Music Library

Pourquoi t'as jeté ta pantoufle?

Description: Recording of Xavier Garcia's "Pourquoi t'as jeté ta pantoufle?" ("Why did you throw your slipper?"). Garcia asks the listener to do two things when listening to the piece: to pervert your listening and to find drama where there is none. To is done through both concrete listening (identifying the surrounding sound world, hearing external noise and understanding the "clues" -- this sound is read as the index of a causality.) and abstract "reduced" listening (listening to the thing for itself, detached from its causal context -- a sounds characteristics, height, dynamics, articulations). Therefore, in the piece there is always a constant misunderstanding between listening to the counterpoint of different "ways" and listening to a casual reference anecdote. In addition, the ambiguity lies in the fact that the sound data that constitutes the anecdotal reference is also one of the melodic paths of counterpoint. The piece was realized in the G.R.M. studios in February and March 1981.
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Date: 1981
Creator: Garcia, Xavier
Partner: UNT Music Library

Scythia

Description: Recording of Stephen Montague's Scythia for electronic tape. Scythia was a region of Central Eurasia in classical antiquity encompassing parts of Eastern Europe east of the Vistula River and Central Asia, with the eastern edges of the region vaguely defined by the Greeks. It was thought of as the great land of education. It was also the place where Prometheus gave fire to man and where he was confined to be tortured by the gods for this. Every day an eagle came and tore out his liver and every day he endured.
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Date: 1981
Creator: Montague/Mead Piano Plus
Partner: UNT Music Library

Reszere

Description: Recording of László Dubrovay's Reszere for percussion and tape.
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Date: 1981
Creator: Dubrovay, László, 1943-
Partner: UNT Music Library

Sashasonjon

Description: Recording of Jon Appleton's Sashasonjon for synthesizer. In memorium Alexander Walden (26 December 1896-4 February 1981).
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Date: 1981
Creator: Appleton, Jon H., 1939-
Partner: UNT Music Library