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Mordre la terre vivante

Description: Recording of Nicole Lachartre's Mordre la terre vivante. This work gives an example of the possibilities of compositional logic offered to composers working at the Belgrade studio. In the first part, a large number of quasi-linear pathways intertwine to create a semi-fluid mass, almost even amorphous at times. It is followed by a section worked in dynamic profile sculpted with precision and contrasts of rhythmic formulas are introduced sometimes by a large variety of instruments including various percussion instruments over which hovers an almost classic “solo” voice. Then the strict rhythmic formulas are temporarily destroyed by an aggressive material introduced in printing whose heights and durations were stochastically determined.
Date: 1973
Creator: Lachartre, Nicole
Partner: UNT Music Library

Refrains for Trombone and Tape

Description: In Refrains, three types of materials, characterized and differentiated by rhythm, melodic contour, pulse and contour, collide and interrupt each other. The trombone and tape parts work together to articulate the form and shape of the piece resulting in combinations and exchanges of their materials and energy. The tape part is based on three source sounds: trombone attack with Harmon mute; trombone sustained tone, open; double-bass pizzicato. Refrains was composed for and dedicated to, Martin Harvey.
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Date: 1988
Creator: Uduman, Sohrab, 1962-
Partner: UNT Music Library

Phase Transitions

Description: Recording of Maggi Payne's Phase Transitions.
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Date: 1989
Creator: Payne, Maggi
Partner: UNT Music Library

Tremens

Description: The title of the composition is taken from a line by Cicero, "toto pectorum tremens" ("the whole breast trembling"). The main musical ideas in this piece are all related to the act of trembling as a response to some basic emotional state such as anticipation, fear, panic, exhaustion, etc. In order to expand the timbral palette of the pieced material, I have incorporated into the composition synthetic, unpitched sounds such as wind, breathing, and large, struck sheets of metal. During the course of the work the Bach choral melody "Was bist du doch, o Seele, so betrubet" appears. The harmonisation is mine and the choral setting is intentionally left incomplete. This composition was realised at CCRMA under an "artist-in-residence" gnat from the Rockefeller Foundation. The composer would like to thank Bill Schottstaedt for the use of his FM instrument, which was used to generate most of the sounds in this piece.
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Date: 1987
Creator: Taube, Heinrich, 1953-
Partner: UNT Music Library

Chalice

Description: The chalice represents a cultural icon of both religious and scientific significance. Renaissance painters used the chalice as an object of study for the newly acquired understanding of perspective. In particular, Dürer's Studies of a Chalice presents the object in progressively rotated angles in a way startlingly similar to many computer graphic presentations. This work attempts an aural analogy to perspective changes. Software written by the composer takes musical material and audits it through weighted dimensional 'filters'. The work was premiered at Merkin Hall in New York and subsequently performed at the ICMC, SEAMUS, and CCRMA Festivals. In addition the work has received performances in New York, Los Angeles, Baton Rouges, and Columbus.
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Date: 1988
Creator: Berger, Jonathan
Partner: UNT Music Library

White Nights

Description: The source material for White Night consists of digital delay processing of spoken names or portions of names of fellow artists. These fragments set up micro-rhythms which interlock, then slowly shift phase. Because the source fragments are essentially static in regard to texture, pitch and timbre, the composition is built on subtle rhythmic interactions among combinations of fragments, with amplitude and density determining the overall structure. White Night is a french expression for a sleepless night of the type characterized by the mind's relentless repetition of thoughts.
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Date: 1985
Creator: Payne, Maggi
Partner: UNT Music Library

Litanéa

Description: "Litanéa" is an anagram of Electroacoustic Litanies. An exaggerated desire for possession of articulated sound material (down to the microscopic level) is not without the risk of developing a rational, even scientific, mind. In music, this exaggeration leads to a state of mind that may dry up in his desire for absolute possession of the material. A certain part of the periodicity must be left to the music (which does not belong to the composer) otherwise the sound can not exist. Litanies are of all times and all countries, and if they have been a form of religious expression calming the mind, creating a self-hypnotism beneficial on the psychological level, it has become clear to apply this musical form to the new technology of electroacoustic music. What is the point of these phonemic and vocal sounds? Probably first the rhythm of words (this pseudo-periodic rhythm that we find in all music) in cycles, like the planets in their regular races in the universe, then the stamped value of these words ( the timbre that makes the man for the musician). Make me hear your voice and I will know who you are, or rather who you are not (in the search for a specific thing of happiness).
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Date: 1986
Creator: Kupper, Léo, 1935-
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
Creator: Donzel-Gargand, Bernard, 1945-
Partner: UNT Music Library

Flush

Description: Disregard for the welfare of all aspects of the environment stem from the negative attitudes about life that prevail in our century. Champions of bloated Western consumerism are products of an age that has framed and glorified these negative attitudes in popular existentialist philosophies such as the "sex, drugs and rock 'n' roll" ethic - philosophies that serve to vindicate a short-sighted, self-centered, hedonistic indulgence in life. Caring, conscientious, forward-looking attitudes are frowned upon as naive and absurd. The physical manifestations of these negative attitudes (such as running riot with chainsaws in our life-sustaining rainforests*) have devastating consequences for the long-term health of both us and our planet. Recent climatic conditions suggest that the Earth is beginning to lose patience with humanity and is preparing to re-enact history - to flush its surfaces in one mighty cathartic ablution. But are we prepared to perish? My composition is an attempt to musically dramatize this line of thought ; it begins by presenting, in extreme form, the two conflicting ideological attitudes (the positive and the negative), and then develops into a presentation of Nature's singled-handed combat against "evil", and ends on a note of warning (i.e. the music is fictional ; in reality there is still time to join forces with nature in its fight against the forces of nihilism). *The piece is based in particular on the theme of Tropical Rainforests - hence chainsaws.
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Date: 1990
Creator: Rodger, Daniel Paul, 1965-
Partner: UNT Music Library

Faust

Description: As a further attempt in the direction of the Gesamtkunstwerk, this piece seeks formally a connection between high-level linguistic culture, lively drama and precise sound aesthetics. It comprises in the original two parts in a total length of about 1 1/2 hours, the actor is constantly present. Based on their story, accompany the central figure except electronic and concrete sounds, a song. Epilogue (for mezzo-soprano, orgei and oboe d'amore), a short wind quintet, as well as the Mephistowalzer (for violin solo) already known by Franz Liszt, where the musical elements often become independent beyond mere "accompaniment", or to transform itself into counterpoints. In fact, the piece, based on the drama, is located exactly between the theater and the music scene, which in today's highly specialized epoch also presupposes a certain willingness of the audience to engage in and rethink. In the case of the performance here, only a part of the middle of the piece can be presented, which is why in this case the text was mixed with the band, so as not to connect the individual sections, at least the listener's imagination is not speech and music distract; but this is actually in the sense of the manufacturer, because under no circumstances should a simple radio play situation arise. Also, the composition of the piece is by no means as informal and episodic as this cutout might be expected to. The individual scenarios and locations were taken from the text of Lenaus in such a way and, even with the implementation of textual and substantive changes, lined up in such a way that a circulation-like. Structure results, whereby the essential musical elements, which appear in the beginning, are also brought to an end. There are also some other analogies to be discovered in it: An aeolian melos, as ...
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Date: 1984?
Creator: Ruttinger, Werner
Partner: UNT Music Library

Lunar New Year

Description: The term "lunar" refers to: taking on or relating to the moon. We all conjure (up) different images when we think of the moon. The moon has been described in literature in many ways, some examples are "the landscape of a great glacier" (John Hunt's Conception) and "shadows on the sand" (Kathleen Raine). Although men have walked on the moon and undoubtedly discovered many things, I often wonder what unreported mysteries it holds. The vast black blanket of space sometimes robs our view of the stars; but yet it allows us vaguely to see our moon. This has posed many questions for me, what "fun and games" are being played on the other side of the blanket? "Lunar New Year is my own realization of what happens on the other side.
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Date: 1990
Creator: Browning, Steven, 1968-
Partner: UNT Music Library

La trace du souffle

Description: The breath as resonance of an inner life accompanies the word and becomes plastic sound form. The focus is on the rough aspects of the acoustic material. The game of morphological similarities seeks to reveal the trace of animality hidden in each sound element. Beyond a figurative intention, "The trace of the breath" is an opening towards an appeasement towards a relative immobility.
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Date: 1989
Creator: Carré, Rémy, 1954-
Partner: UNT Music Library

An Island of Tears

Description: Recording of Jonathan Berger's An Island of Tears.
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Date: 1985
Creator: Berger, Jonathan, 1954-
Partner: UNT Music Library

Corale quasi una fantasia

Description: "Corale quasi une fantasia" (or more correctly "Fantasia quasi une corale") was composed in July 1985 at the Electronic Music Studio in Cologne. My goal was less to compose a "work" or a "piece", than to do ten minutes that I would like, and if possible that you would like too.
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Date: 1985
Creator: Moschos, Konstantinos, 1959-
Partner: UNT Music Library

Gyuto: Resonances of the Divine

Description: Although composing a piece for tape in an electronic music studio involves a close relationship with modern Western technologies, I hope Gyuto evokes images and energies that submerge far and away the "high tech" machinery used in its performance. Inspired by the well-known Tibetan Tantric Monastery Choir Gyuto, this work generates itself abstractly Tantric spiritual beliefs and directly sounds created by the monks during their songs and rituals. The chants sung by the monks are used parsimoniously throughout the entire work. Structurally, Gyuto is composed of five general movements. The work opens on the image of the monastery, perched on a mountainside and ambiances when the monks, by their songs, invoke various gods, concentrating their energy to better explode then, radiating through the face of the world, resonating with all creation.
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Date: 1989
Creator: Blackford, Phillip
Partner: UNT Music Library

Frastagliate onde...

Description: "Frastagliate onde" is a composition based on an italian translation of an anonymous greek fragment (about III Sec. b.C.) : Frastagliate onde spettri festanti adornano il suono dei fragili spiriti The Italian translation of this text is very interesting for his particular speech sounds; so all the piece has been developed starting from the analysis of the text recitation, and processing in several modes the phonetic content of each word. Every sound has been realized using only the base text.
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Date: 1989
Creator: Libretti, Andrea
Partner: UNT Music Library

Bouffée Délirante

Description: "Delusional episode of short duration, bursting suddenly in a subject with a certain mental fragility." Larousse Dictionary My first attempt to make cinema for the ear. A beginning of scenario: a being who looks for himself dark in a fatal delirium. This piece would be divided into two parts: escape / isolation and fantasy / delirium. This scenario fortunately exceeded, I decide to focus on the internal space and its relation with form. I want to thank Francis Dhomont, Kevin Austin and Pierre De Gagné. This piece was made at the studios of Concordia University and the University of Montreal.
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Date: 1990
Creator: Bouhalassa, Ned, 1962-
Partner: UNT Music Library

Elan B

Description: Recording of John Celona's Elan B.
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Date: 1988
Creator: Celona, John, 1947-
Partner: UNT Music Library

Cantata "About Love"

Description: Based on 5 poems of Afanasij Afanasevic Fet, russian romantic poet (1820-1892) recorded at St.Petersburg Radio and Television Studio. The St. Petersburg Conservatoire Choir, conductor: Nikolaj Kornev, vocal: Boris Karandasov, electronics: Dmitri Pavlov, sound engineer: Vladimir Lukitchev 1990 "My Native Land" composition for electronics recorded at St.Petersburg Radio and Television Studio electronics: Dmitri Pavlov, sound engineer: Vladimir Lukitchev
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Date: 1987
Creator: Pavlov, Dmitri, 1959-
Partner: UNT Music Library

La Dernière Pavane

Description: Let us hasten, time flees and we drag along with us, the moment when I speak is already far from me. I like the quotes ..... Today they are so serious that they were in their fun time. They reflect a mentality whose image has faded for a long time. It is especially the musical quotations which, detached from their context, make a forced call to our recognition. Language and music have in common that they become, put together, anecdotal. Impotence takes me in front of commemorations. So I tormented myself, soon provincial composer in a new united Europe, which evokes a revolution that took place 200 years ago. Unimaginable to note all this in irony. A respectable dose of false romanticism may be enough in the tone. Formerly, in 1789, many heads fell. "The last pavane" is a walk, the surrealistic representation of a march to the scaffold. A pas de deux with time and death, jerky and veiled with quotes from different periods. And the doctor guillotine waiting for his patients to soften this last moment.
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Date: 1989
Creator: Bruynèl, Ton
Partner: UNT Music Library

Seseribo

Description: This piece was inspired by the rite of Sikán and Ikué from Afro-Cuban. This piece tells the legend about how Sikán, a not only curious but indiscreet woman, goes to the Sacred River where sacred Ikué lived. Nobody but the initiates could hear Ikué's secrets. Sikán, being a woman with profane ears was not able to hear Ikué's voice, but she did, and she saw, and she told. Nobody believed her fantasy. Sikán kidnapped Ikué to show it. She paid this profanation with her skin and her life. Ikué died, nobody knew how. But the secret was not lost, neither the habit of reunion, nor the joy of knowing that it exists. With his skin was made the "ekué" which now speaks at the initiate rites and its magic. Sikán's skin was used to build another drum that must not speak, still it suffers the punishment of the long-tongues. Nobody plays it.
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Date: 1984
Creator: Schreiber, Jacky, 1961-
Partner: UNT Music Library

Cyprès

Description: Recording of Gabriel Poulard's Cyprès which is dedicated to Pierre Schaeffer.
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Date: 1996
Creator: Poulard, Gabriel
Partner: UNT Music Library