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Ebb and Flow

Description: This piece was created on the composers' Desktop Project Computer Work station, over the space of about 10 weeks, and lasts just over 11 minutes. This piece draws on six basic sound sources. Five of these are purely synthetic, whilst the last is the recorder sound of a breaking twig. All but one of the synthetic materials was f-generated by a method of granular synthesis via fractal organisation, using software, which I developed in the summer of 1989. The hope is that this technique gields sound whose inner vitality approaches the illusive richness of the natural sound world. Synthetic and natural sound sources are also subject to spatial processing, using software which I wrote whilst the work was under way. This piece was first performed in December 1989 at Keele University.
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Date: 1989
Creator: Rhys, Paul (Paul Quentin)
Partner: UNT Music Library

Only Beatrice

Description: This piece may be considered to be musique concrète. It also incorporates the features of Spiel-Hören. The female voice is used both as an exclusive material for the digital signal processing, and as a means for dramatization of the excerpt from Jan Lechon's poem Rendez-vous. The tape part is juxtaposed with the string quartet which gradually diverges from the tape, establishing its own distinct musical idiom. The voice has been digitally recorded, then cut into short fragments. Each fragment has been processed by a variety of signal processing software and hardware. Subsequently, all splices of the processed data have been pasted together and mixed into the four track tape. The string quartet parts are written with the varying degrees of rhythmic freedom. The string quartet ultimately diverges from the tape into baroque stylistics - these, however, being of an unusual pointillistic texture; other compositional techniques are also used to deform the original baroque template. The piece confronts three basic compositional problems: determinism vs. aleatorism, meta-conventional treatment of musical idioms, and use of different levels of deformation as a means for musical development. My deepest gratitude goes to Dorota Kwiatkowska-Rae, whose voice has been used both as material for signal processing and for the compositional structuring of the piece. Her remarkable acting ability and her personal commitment to the short excerpt from Lechon's poetry had an enormous impact on the final outcome of the composition. The tape part of Only Beatrice was realized in the Electronic Music Studio of the University of Glasgow with the technical assistance of David MacKenzie. I should like to thank David MacKenzie for his extremely competent help and collaboration which, in many instances, went far beyond his professional duties. Thanks to him and my other Scottish friends, these five weeks of work on the piece, although ...
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Date: 1988
Creator: Krupowicz, Stanisław, 1952-
Partner: UNT Music Library

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
Creator: Weiss, Jonathan, 1949-
Partner: UNT Music Library

Wait for Me!

Description: "Wait for Me" is a concrete piece based on various recordings: the ocean (recorded by Tovar at Backer Point), children playing in a park, a garbage truck loading a mooing cow. The dogs of "Leviathan", and a carousel with carousel recorded by Michael McNabb. The two pieces of text that come back often are "wait for me" and "ducky duck". Some of the voices that go into the mix of "Wait for me" were produced by increasing the sound contrasts. The amplitude of the sound (at each sample) was used as an index in a table containing a modulated sine wave. When a sine X is close to X = 0, the piano portions were left largely alone while the strong portions were changed (modulated) in an ever increasing quantity, the highest point being dependent on the source (index) of the frequency modulation. This process can be seen as a form of wave envelope. The other treatment used is something non-standardized that enhances the method used in "Leviathan" to diversify sounds. As in this piece, I often varied a given sound very slowly, taking small portions of the sequence and making them overlap. In "Wait For Me!", The length of each piece, the shape of its envelope and the percentage of overlap were variable. In addition the carousel was enriched by taking small fragments both forward and backward. The result can be listened to as orchestral chords, especially at the end of the piece.
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Date: 1989?
Creator: Schottstaedt, Bill, 1951-
Partner: UNT Music Library

Via Crucis

Description: "Katyń is a place and a name that will remain forever in the memory of every Pole, Katyń - this word is associated with cruelty, bestiality and cunning." Cruelty to defenseless men, bestiality to victims, hatred of men speaking another language and having another conception of the world Katyń is also an imposture against men who were initially ordered to believe they would be released and would return to their families, to murder them one after the other without any warning, without giving them the opportunity to write their last letter and even to make their last prayer.It was an imposture to a whole a nation to whom the perpetrators of the crime and their political successors in Moscow and Warsaw have forbidden, for nearly fifty years, to speak of it aloud."
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Date: 1990
Creator: Rudnik, Eugeniusz
Partner: UNT Music Library

Peaceful Settlement of Disputes

Description: Words, words, words…….!! Respect for human rights, for freedom of the spoken and written word. Somebody wanted to say something, others too. Hundreds wanted to speak, to say what they are thinking. But the answer is a battalion of machineguns………… A National Anthem is beginning to sound, than another and it increases and increases. It ends in chaos; the nations can’t come to an agreement. It seems to crumble down. There is a Final Act - does it help? Does it work? Time will tell. The Festival of Electronic Music at Bourges has commissioned this composition. It has been realized in the studios of Radio Hilversum.
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Date: 1980
Creator: Eisma, Will, 1929-
Partner: UNT Music Library

Tutti Media

Description: Text, Direction and Music by Roland Cahen Become a media Tutti or teleological vision of the connectionist syndrome Stuff for 5 actors, live video and 3 magnetic tapes Max, a hard-nosed spectator of the small screen, after realizing that the interesting things were happening on the other side of the window, suddenly sees his ideal becoming his everyday life: here he is consecrated a sacred monster, a star adulated ... enjoying his own image, hallucination hallucinating our "hero", too much wanting to burst the screen, it explodes: after the canonization television, comes the time of sanctification by a Mass media to the cathodic death ... Point d'orgue! With the mediator Yves Aubry Max Claude Bernhardt Pernille Fredericksen Guillemenette Galland Mine Angel Camera Liliane Witrant Created in November 1990 at the Café de la Danse in Paris
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Date: 1989
Creator: Cahen, Roland
Partner: UNT Music Library

Mon 1789

Description: It's a piece between music and Hörspiel. It's the declaration of men's rights that inspired me. It is a view of the reflection of the French revolution in Germany (example: Friedrich Schiller). It's my own voice that gives the sound material. The quote at the beginning of the play is by F.Nietzsche after Anaximander: "From where things have their origin, towards this place they will have to perish ..."
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Date: 1989
Creator: Katzer, Georg, 1935-
Partner: UNT Music Library

Through Windows of Vulnerability

Description: It is used to describe that interval of time when a message travelling over a communications medium is susceptible to being interfered with by another. Analogous to the conversation where no person listens for an appropriate moment to speak, the messages are rendered unintelligible. "Through Windows of Vulnerability" explores both grounds of wide harmonies and sheer textures. This piece was created during the fall of 1988 at the Queen's University Electroacoustic Music Studios.
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Date: 1988
Creator: Freedman, Elliot, 1967-
Partner: UNT Music Library

Es menos dos

Description: Dedicated to Ana Vega-Toscano (1989). There are two possible versions: piano and computer controlled synthesiser or piano and tape (we will hear the piano en tape version). The technique of composition consist on the structured division of time in several levels that goes from its three sections to the small patterns. It is a duet, while one of the performers plays the piano the other triggers the computer to calculate and play short music fragments. The computer was also used for the development of chordal sonorities and melodic generation inspired on the theory of fractals. The same processes are used in piano and computer parts. The tape part was recorded at the LIEM-CDMC with programs written by the author in MIDI-Lisp, a MIDI extension developed at the IRCAM. Performers: Ana Vega Toscano, piano. Adolfo Núñez, computer. Madrid, Spain, 1988.
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Date: 1989
Creator: Núñez, Adolfo, 1954-
Partner: UNT Music Library

Suite Révolution

Description: This work is only based on the decimalisation that takes place in France during the Revolution. Decimalisation was introduced in the standards of weight, measures across France. There are 10 movements in the work, some slow, some fast, based on 10 elements of the musical material. The material is mostly synthesized and was generated using AMPLE and Midi Music 2000 hybrid interfaces.
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Date: 1989
Creator: Doherty, Douglas, 1956-
Partner: UNT Music Library

Cobra

Description: Cobra (1988) was commissioned through the Danish Art Council by the Randers Art Museum in celebration of the museum's 100th anniversary and realized at DIEM's studio in Aarhus, Denmark. The piece has since been presented at the Rostrum for electronic music in Stockholm, the Bourges festival, the International Computer Music Festival in Columbus, Ohio and as a ballet at the South Bank Centre in London. The work is available on CD on the Da Capo label. The sound material is derived mostly from the voice of the Danish alto, Hanne Stavad. The material has been digitally processed using the Karplus-Strong algorithm and cross-fading to create hybrid instruments - essentially crosses between sung vowels and plucked string instruments. The work is a strict twenty-voice canon with a delay of 1.5 seconds between each voice. These twenty voices are distributed between the four speakers in a large circle.
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Date: 1988
Creator: Siegel, Wayne, 1953-
Partner: UNT Music Library

For String Quartet and Tape

Description: For String Quartet and Tape explores the Relationship between the nuances that exist in the acoustic and electronic sound world. Throughout the work, the integration of electronic sounds into the acoustic domain of the string quartet creates an illusion that is often hard to define. In the end, they become one integrated ensemble.
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Date: 1980
Creator: Bianchi, Frederick W.
Partner: UNT Music Library

Trajectoires

Description: Some simple tracings with clear contours with here and there, perhaps, elements of surprises, unexpected detours, "Trajectories" is a live electroacoustic piece in five moments written for an interpreter and instruments of synthesis Yahama DX7 (E!) and TX7. By choosing a reduced instrumentation and a reduced sound material-a timbre per moment-the composition focuses on the sonic gesture: articulation and animation of each timbre. It is by playing and modifying the shape of the created sounds that the gesture specific to each of the stamps has imposed itself. In addition to the DX7's keyboard keys, note velocity, key pressure variation, modulation wheel, and sustain pedal are all used extensively in this room in addition to variable chord functions. spatialization offered by the map E !. In general, the nature of the stamps used covers a region of the register-a kind of sound cloud-rather than a single, precise height. The score uses a relatively traditional writing system, more to account for the play needed for execution than to dictate precise pitches and time values. "Trajectories" was composed for Sergio Barroso during the summer of 1987.
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Date: 1988?
Creator: Denis, Jean-François, 1960-
Partner: UNT Music Library

Shrinking Times

Description: The musical theme consists of a sequence of three attacks. The first part is a kind of presentation of the intellectual and structural message of the composition. The thematic part of the whole piece is heard in this introduction. Rhythm and melody are extremely simple and the counterpoints are quite opposite to each other. Everything else is nothing more than a variation and development that follows: cutting, transpositions of certain elements, multiple combinations, metric variation, as well as developments of character and meaning that are appropriate.
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Date: 1989
Creator: Pintér, Gyula, 1954-
Partner: UNT Music Library

d MnStR

Description: The piece describes the evolution of a compound universe of sound objects when influenced in multiple ways by different sets of structuring laws (state definitions). This universe contains a number of subuniverses, each of which is formed of a variable number of more elementary units. All of these levels may be considered as organic structures, for they describe whole-units through the relationships between the characteristics and the behaviours of their elements. The idea was to create a continuum in constant change, where the different organizational layers would lead to successive and, at times, simultaneous perceptual levels. The sound material consists on five families of "timbres", each having a repertoire of equivalent sound "colours". Two of these families are recorded sounds, voices saying phonemes : a soprano, head register, quasi whisper; a deep bass, forced low register. The other three families were derived from these two, via different spectral transformation routines, so as to obtain characteristic timbres, while preserving the equivalency of their "colour" repertoire.
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Date: 1989
Creator: González Arroyo, Ramon
Partner: UNT Music Library

Riverrun

Description: Riverrun creates a sound environment in which stasis and flux, solidity and movement co-exist in a dynamic balance. The corresponding metaphor is that of a river, always moving yet seemingly permanent. From the smallest rivulet to the fullest force of its mass, a river is formed from a collection of countless droplets and sources. So too with the sound in this composition which bases itself on the smallest possible 'unit' of sound in order to create larger textures and masses. The title is the first word in James Joyce's Finnegan's Wake. Riverrun is entirely realized with the method of sound production known as granular synthesis. With this method small units or 'grains' of sound are produced, usually with very high densities (100-2000 grains/sec), with each grain having a separately defined frequency and duration. When the grains all have similar parameters, the result is a pitched and amplitude modulated sound, but when random variation is allowed in a parameter, a broad-band noise component is introduced. All sounds in this piece were generated with real-time synthesis by the DMX-1000 Digital Signal Processor, up to a maximum density of 2375 grains/second. However, in many cases, lesser densities were also used since often the progression from isolated sounds or a rapid sequence of events to a fused texture is the most interesting feature of the synthesis method. All layers were multi-tracked with four simultaneous stereo versions and later up to 32 such tracks were mixed. Considerable use was made of ramps applied to the synthesis variables; that is, certain parameters were made to change over time at a specific rate, sometimes with several parameters simultaneously ramped at different rates. Therefore, all sound in the piece is in a constant state of flux, much like environmental sound generally and water sound in particular. The fundamental ...
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Date: 1986
Creator: Truax, Barry
Partner: UNT Music Library

Etapper

Description: The electroacoustic piece 'Etapper' ('stages') is based on a text selected from the novel 'Kontrapunktisk' by the Norwegian writer Ole Robert Sunde. In the piece the spoken and whispered sounds from the writers reading of the text have been transformed, mainly by the use of digital and analogue filtering, echo and reverb techniques. Transitions of noise, also derived from these vocal sounds, have been used to mark the hidden transfigurations that lead the development from one stage to the next. 'Etapper' is commissioned by The Norwegian Centre of Writers. It received 1. and 2. prize in the International Rostrum for Electroacoustic Music in Stockholm 1988.
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Date: 1988
Creator: Ore, Cecilie
Partner: UNT Music Library

Scirr

Description: Scirr is written for a contrabass flute and pre-recorded computer-generated sonorities. It owes its existence to special performing techniques that Beate-Gabriela Schmitt developed for this particular instrument, allowing her to modulate timbre and articulation in special ways. The part for pre-recorded tape was created exclusively from sounds relating to the flute part. Besides editing and mastering, the task of the computer programs was to apply to the sounds of the flute a variety of algorithms and transformational procedures that affected an extremely wide range of parameters, both mutually independent and interrelated. The piece was created on a Vax 11/780 computer at the Electronic Music Studio of Berlin Technical University.
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Date: 1988
Creator: Vaggione, Horacio, 1943-
Partner: UNT Music Library

Below the Walls of Jericho

Description: The title is only a loose reference to the story in the Bible. What interests me about the story is the idea of a large mass of people knocking down a wall through the use of sound. The story gives credence to the notion of music as a catalyst for social change. Beyond the sheer physical impact that a large number of sounds contain, the music is a form of language which is capable of creating thoughts. The power of music lies in the simultaneous physical and intellectual seduction of the listener. In the composition, four hundred tracks of sound are often assembled to create the sense of a large mass. Three hundred and thirty-three tracks are created by dividing each of the seven octaves into fourty-eight notes. Brass, string, and wind instruments from the Western musical tradition and from other cultures are combined to create these textures. The remaining tracks are made up from the unpitched percussion instrument families. The working method allows each track to have its own identity in terms of frequency and tempo. The relationship between each individual layer and the mass effect can act as a metaphor for the relationship between the individual and society. Beyond the music, the metaphor suggests questions of the nature of the walls we have to tear down in order for our culture to move forward.
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Date: 1988-1989
Creator: Dolden, Paul, 1956-
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T'es le Fun Téléphone

Description: Everything revolves around a phone. Waiting for a call can drive you crazy, as well as unwanted ringtones that sound from everywhere. Fortunately, there is Wes Montgomery to dream a little François and Chantal live a funny day everyone in their apartment. We can observe them as if we had inserted a small camera. Who does not want to penetrate the intimacy of others at times? History to recognize a little, or not at all. Finally, they will find themselves in the cinema maybe!
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Date: 1987
Creator: Turcotte, Roxanne
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Jasha Svetla Luci serene

Description: The composition Luci serene (Lucid Lights) is inspired by a renaissance madrigal of Carlo Gesualdo da Venosa. That is why some of the sound samples used in this work are vocal and choir samples. The using of sounds formed by different types of sound synthesis – additive, FM, fractal, etc. – supported colour vividness and contrast of particular music passages. Connecting effect processors at final modifications made possible to realize the movement and localization of the direction and space depth.
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Date: 1989
Creator: Kopecký, Pavel, 1949-
Partner: UNT Music Library