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Mein 1989

Description: In 1989, we celebrated the Bicentenary of the Great French Revolution. On this occasion, I composed a radio play "Mon 1989". It was a collage of electroacoustic music and documents that I recited myself. After the "little German revolution", the idea came to me, by association, to compose the current correspondent: "Mein 1989", using my voice and this time, documents recorded on magnetic tape. It is a look back on our destiny which, in East Germany, begins with the terrible legacy of Nazism. At the beginning of the play, we listen to a quote from Anaximander: "This place where things take their origin, to this place where they must also be damaged because they have to pay for them. injustice...." Thus the play refers to the difficulties of saying the word "Liberty".
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Date: 1990
Creator: Katzer, Georg, 1935-
Partner: UNT Music Library

Breeding Version 2.01

Description: This is a real-time performance of computer. This piece's "Structure" (changing with time of the density of sounds, distribution of sound-frequency, character of the sound-space, etc) was decided by translation and adaptation of the results of Monte Carlo simulation about the ecological concepts -birth, growth, death, etc-. It's used here to suggest a systematic but multiply stimulated study of materials and their organisation. Many scales and tunings consist of re-construction of the frequency-values as the results of random operations. And this scales change with time.
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Date: 1988
Creator: Nemoto, Shinobu
Partner: UNT Music Library

Paysages PC

Description: If the music of the past was characterized by the contest between consonance and dissonance, the music of the present day is a contest between sound and noise. This percussion piece is located precisely in this intermedia area. The instrumentation is largely metallic, centering on gongs (Ching, Tching Lwo, Feng Lwo etc.) completed by a marimba. Structurally the piece develops from points (isolated, in varying density) by way of lines (aleatory distribution of glissando cymbals) to a surface. The pulsations and rotations of the steel drums are followed by contrast with a flexatone improvisation, leading to a renewed pulsation, with the marimba taking a virtuoso part. The work was first performed during the German Percussion Symposium Nürnberg 1986.
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Date: 1985
Creator: Jentzsch, Wilfried
Partner: UNT Music Library

Les Sombres Lamentations d'Attis et Ariadne

Description: The Lamentation of Attio was composed by Vincent McDermott at the Laboratory of Sonology in Utrecht. This multi-media piece is based on classical Latin poetry by C. Valerius Catullus. The text tells the story of Attis who was emasculated to join the worship of Cibelle. When he complains about what he has become, Cibelle sends his lions after him for eternity.
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Date: 1983
Creator: McDermott, Vincent, 1933-
Partner: UNT Music Library

Cymbal Simon

Description: This piece is a musique concrète study of the cymbal. One eighteen-inch cymbal is the only sound source. The focus taken while composing this piece was to compare the distinctive attack and sustain portions of the cymbal. Then to transform each one into the other, creating new sounds to work with.
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Date: 1989
Creator: Dodge, John, 1966-
Partner: UNT Music Library

Something to Say

Description: Even thought the composition doesn't conclude any concrete theme, I have decided to participate in the category C. The basic work of composition is visual imagination, in which the musical form is subordinated. That is why the basic form of the choregraph movement of the interpret on the stage is so close connected to the music. From the point of view of the musical confrontation of three elements, which flow into music conflict. The score of the solo trumpet and the music of the recorded trumpets on the tape are mono thematical. This theme is bipolar and has an interval structure, which develops into an evolutionary development. The movement of the player has direct connection with the form of the composition elements. The selection of harmonic elements oscillates between the chromatically using of the former mentioned structural model by the use of micro intervals. My basic imagination other than the musical idea, which I wanted to express, deals with the fate of humanistic ideals in this world and fate of its authors.
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Date: 1987
Creator: Rudolf, Robert, 1963-
Partner: UNT Music Library

Solaria

Description: “Solaria” is a piece that uses, besides few synthetic sounds, only digital transformed piano sounds. During the seminars of Musica/Complessità (Amelia – Italy) in 1989 where I have known and frequented for nine days professor Barry Truax and many other composers, I have had the opportunity to go into details of Granular Synthesis. Right after I have begun to think to a composition that used such type of synthesis in combination with "wavetable synthesis” that I already used in a preceding composition, “Ladies & Gentlemen". From the 1985 and the 1988 I had the chance to use a Digital VAX-730 and 785. I started to experiment using a stable version of Music-11 (working originally in Unix environment) converted into VMS and subsequently one of the early release of Csound. The basic idea of “Solaria” comes from the possibility to explore the timbral essence of the piano sounds using two different processes of synthesis respectively based on the analysis in frequency and on the temporal elongation of the original sounds, previously recorded on tape. The material derived from a database of many recorded notes of a Steinway Mod. D grand piano I used to implement a digital sampled instrument. The starting point was a very large waveform database that expressed the timbral description in terms of frequency (pitch) and dynamics with a synthesis technique that today even would be able assimilate to something like to the well known Group Additive Synthesis. The waveforms of the database represented a kind of harmonic "distillate" material (i.e. one of more integer cycles of a particular point in time during the decay of a recorded note), destitute of the temporal component and of that elements characterize that are for example the noises and the strong presence of inharmonicity of the real sounds of a piano. ...
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Date: 1988
Creator: Giordani, Eugenio
Partner: UNT Music Library

Jardin Secret I

Description: Jardin Secret I (Secret Garden, 1984-85) is a first study in a series of works, for which I have concentrated in making computer research on the relations between different musical parameters and processes, as well as my own musical thinking. I shaped primary models for various different, well-defined musical situations. Starting from these models, I intended to control various musical parameters, without forgetting their particular features. I wanted to find out whether these parameters could be treated starting from the same outset point. Since i have been interested for a long time in the idea of (musical) interpolation, my starting point was also partly determined by this interest, in relation to various specific musical and physical parameters. The dominating type of process in this etude is a gradual interpolation between two points, realized on different parameters in different scales. Sometimes this process is combined with sharp transitions between different characteristics in other parameters. The color and tone levels of the sounds are intertwined into an indissoluble processor FPS-100. All the sound material for the piece has been synthesized with this version of Chant. The mixing of the sound material was made with a Sony 24-track digital tape recorder. (KS)
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Date: 1984
Creator: Saariaho, Kaija, 1952-
Partner: UNT Music Library

Suite 6

Description: Recording of Rudolf Růžička's Suite 6.
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Date: 1988
Creator: Růžička, Rudolf
Partner: UNT Music Library

Dialouge for Kendang and Tape

Description: The kendang is a Javanese drum. In Javanese music, the drum sounds are onomatopoetic, that is they are duplications of spoken language. An appropriate kendang player, however, will always tend to enrich his sound repertoire by imitating arbitrary sounds of the environment. My composition Dialogue refers to this. First the computer-generated sounds are introduced in an onomatopoetic way and imitated by the kendang player. Then the computer sounds develop in a way as to move finally far beyond the expressive power of the kendang. The natural and the synthetic sounds enter in a heavy conflict leading to a climax. The contrast is, however, bridged eventually by fragments of the Javanese music "Subakastawa" in the tender Slendro-9 tuning. The piece was created at Utrecht Muziekcentrum on the 24th of January 1984 with the collaboration of the Javanese kendang player Supangah Rahayu (Paris).
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Date: 1983-1984
Creator: Kaegi, Werner 1926-
Partner: UNT Music Library

(Inter)play

Description: At the time of writing (inter)play I was interested in creating simple global frameworks which allowed the ear to concentrate on the details of individual sonic events and grains of texture which the electroacoustic domain offers. The broad structure of (inter)play is very straightforward. It is in two parts, each having similar material and function. Musical interest lies in micro-structures: details of texture, gesture and proportion, emphasised by careful spatialisation. The piece uses sounds which are breath-like, or breath related; phrases consciously employ breath shapes and patterns, and the overall structuring is concerned with cycles of breathing. The piece is, therefore, in a sense homophonic, in that, although there are sometimes many layers of sound, they all move as one line towards the same goal.
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Date: 1987
Creator: MacDonald, Alistair, 1962-
Partner: UNT Music Library

Incantations and Dances

Description: Incantations and Dances was written during the summer and winter of 1989-90, largely at the Virginia Center for the Creative Arts, the Ragdale Foundation and the Electronic Music Studio of Sweet Briar College. The work was premiered in March of 1990 by the contrabassist Salvatore Macchia, for whom the work was written, and the keyboardist Jeffrey Holmes. The work is a study in real-time interaction between, on the one hand, a pair of live performers, one of whom is playing a conventional acoustic instrument and the other a series of electronic keyboards, and, on the other, a pre-programmed computer partially controlled by one of the live performers. The melodic and harmonic material of the piece is serially derived, as is its formal manipulation, but there are improvisatory elements involved and there is a decided jazz inflection to much of the rhythmic material, particularly in the closing dance.
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Date: 1990
Creator: Bestor, Charles
Partner: UNT Music Library

Souvenir de Boswill

Description: Réalisation Hear Studio/radio Magyar, 1989 Festival de Bourges Original Tape
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Date: 1989
Creator: Kiraly, Lazlo, 1954-
Partner: UNT Music Library

Sonnerie de l'Arc de Cercle

Description: This is the result of an exploration of writing in space, in this case for the speakers placed in an arc forming a sound screen of 150 'to 220' aperture. This piece is also the result of an exploration of electroacoustic writing. 6 movements the structure: 1. Opening, solatonic less than a minute. 2. Around rain, or shudder of a more neumatic writing. 3. Duo where the bottom engulfs the soloists to merge into the fourth movement. 4. Explosions, tears falling in tessitura. 5. Heart of music for percussion and synthetic choir 6. Coda, rain, oblivion ...
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Date: 1987
Creator: Laubier, Serge de, 1957-
Partner: UNT Music Library

Chréode I

Description: Jean-Baptiste Barrière: "Chréode " is a borrowed term from morphology and biology (from the Greek "cre" it is necessary," and "Odos" path: Necessary path). It is used here as a metaphor for a systematic and intersecting investigation of the material and the organization. It is about my time of a generic title for a set of computer works, of which "Chréode I " is the first element. Although the materials are very worked, the attention in this piece carries more specialty on the organization. "Chréode i " is the first step towards a grammar of processes that I would like to attempt to elaborate. This research on musical processes, their fields of action and their limits, has been thought as a strategy of approach to the musical territory, as it is found revolutionary by the possibilities offered by the computer. A very general destination for this project was experimenting with different types of organizations, and a higher level of learning about the time structures formally. The compositional structures as well as partitions have been elaborated in the programming environment forms with the help of Pierre Coine and Yves Knob. The material sound has been chosen to allow a certain type of control over the timbre, concentrated on a small number of compositionally relevant settings. Thus the work on the timbre is essentially based on the compression and expansion of the formants, or spectral envelopes, this starts from material of the vocal types and then deriving these modules to other modules, with or without family references of instrumental stamps. The synth has been carried out with the singing program. The piece has been realized on the computer PDP-10 at IRCAM. The singing/forms environment has been found particularly adapted to this type of work, and Xavier Rodet must be thanked for his ...
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Date: 1983
Creator: Barrière, Jean-Baptiste (1958-)
Partner: UNT Music Library

Rotting Oranges

Description: Recording of Karl Friedrich Gerber's Rotting Oranges.
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Date: Unknown
Creator: Gerber, Karl Friedrich, 1954-
Partner: UNT Music Library

Petites Histoires Noires

Description: Recording of Jean-François Minjard's Petites Histoires Noires.
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Date: 1986-1987
Creator: Minjard, Jean-François, 1953-
Partner: UNT Music Library

Déchaînement II

Description: Jan Boerman: Unleash II (1984) "Unleash II" for percussion, live electronics and tapes was composed in 1984 for the Johan Wagenaar Foundation. "Unleash II" is one of a series of three pieces, namely: - Unleashing I (1982) for tape and electronics. - Unleashed II (1984) for percussion, live electronics and tapes. - Unleash III (1985) for bands. These three pieces are - in terms of tapes - from the same electronic equipment. The shape and development are totally different. However, identical nuclei are found in every room. The live electronics in "Unleashing II" is limited to trial and error (with contact microphones) of a sound pipe, a gong, a tamtam and an aluminum plate, as well as amplification. respectively the choking of the high and low elements of the sound.
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Date: 1989
Creator: Boerman, Jan
Partner: UNT Music Library

Tro-tropfort

Description: All durations and pitches have aleatoric (random) values. Only pitches and durations of the form are constructed by another system. The source Material is created by some frequency modulated Sinus generators. You can hear this material at the beginning with a crescendo. The basic form is created directly out of this material by using two kinds of technique: 1. Subtraction (Filter) 2. Addition of filtered Material 3. Transposing and adding the new Transpositions. All of the structures of this piece are created by using these 3 techniques in concrete (the 3 transpositions of the basic form) or an abstract way (look to the upper line of the partitur). The concrete way: The basic form uses 3 types of filtration high (in the area of 5000 Hz: a), middle (between 500 and 800 Hz: b), low (in the area of 200 Hz: c). The basic form is created in this way: source material 30sec; 1a: 50sec; 1b: 30sec; 1c: 60sec; 2: 10sec 2+1: 40sec; 3: 20sec 3+1: 70sec. This form is used in 0.5 and 1.1 Transposition and 1.6 retrograde Transposition. This 3 Forms are positioned in that way, that they could culminate in the Transposition (look point 3) This construction is now transposed again (look to the lowest sec meter in the partitur, it is different to the one above, which belongs to the situation before the last transposition) so that it is possible to use the 3 Transposition factors (0.5, 1.1, 1.6) again, without repeating them. The crescendo of the source material is now treated in a special way (look to the upper line of the partitur): it is now repeating the basic form: 2 Transposition and 1 Transposition retrograde - plus Reverb of the source material and a Reverb of the End of the source material separated from ...
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Date: 1988
Creator: Brümmer, Ludger
Partner: UNT Music Library

Il Nome

Description: The text, "Il Nome of Maria Frisu" was written by the Italian poet, Andrea Zanzotto. Maria Frisu was one of 84 people killed on August 2, 1980 in the attack on the Bologna / Italy train station (attack attributed to the neo-fascist group Avanguardia Nazionale). She was bleeding to the point of being unrecognizable. The names of those killed during the attack appear on a memorial erected on a wall of the rebuilt railway station. In Zanzotto's poem, the text "Il nome" adds a short passage from the libretto of Monteverdi's Orfeo. Zanzotto's poem appears in fragments, not always in the original order until near the end of the work where the poem is sung in full. The text of the Orfeo is near the middle of the work. "Il Nome" was composed for the soprano Judith Bettina whose voice also serves as a basis for the band part. All vocal sounds on tape (even "non-Western" vocals) are derived from recordings of Judith Bettina's voice. Broken glass recordings, a single violin note and a tam-tam were used as well as purely synthetic sound material. Several techniques have been used to generate, mix, synthesize and record the sound materials of the band part, such as the lengthening of short samples of sounds, (making them twenty times longer without changing the original pitch), digital filtering or recording. Numerical analysis More important, however, was the extreme attention paid to the mixing of different types of sounds and processing methods, especially the distribution of these sounds in different heights zones to create a variety of densities and colors of sounds. In other words, orchestration played a role of great importance equal to the production of individual sounds. The sounds of the tape were recorded on hard disk and rendered, processed, orchestrated and mixed with ...
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Date: 1987
Creator: Karpen, Richard, 1957-
Partner: UNT Music Library

Akaklaklak

Description: Akaklaklak is more than a radio play - it is a radio performance - it is first a radio composition... - but also a study of the creative use of modern computer technology - further it is a trip to virtual sound in space - and an attempt to develop radio's acoustic story telling - Radio Art... also performed in other spaces with visual elements - it is a performance with authors playing live with their magic instruments - cycle of 25 mixed media paintings - an folia installation with 300 pictures on windows, glass portales - 300 folia pictures hanging in trees - 130 pictures on cork plates - an outside radio spectacle for a loudspeaker orchestra - live 8-track mixing, a five floor high vertical sound sculpture - a television documentary of authors' sound art directed by Iza Lewenstam Main instrument: Human voice, the paragon of all instruments Others: bird skulls, bones, wooden flutes, stones, bows, drums, bowls, hay, horns, seeds, sand, stamping tubes, rain sticks, bull-roarers, aerophones, rattlers, didgeridoos, dance tubes, computer programmes, samplers, multitrack tape recorders.
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Date: 1989-1993
Creator: Sirén, Pekka, 1946- & Waligórska, Agnieszka, 1949-
Partner: UNT Music Library

Karangan

Description: Karangan is the Indonesian word for “work”, as for instance the peasants working in the rice fields. In this composition I tried to integrate the western and eastern musical traditions. Sometimes it turned out, more or less, as a confrontation between two different cultures, and other times it resulted in a synergy. I was inspired to create this piece by my trip through Indonesia in 1989, the country where I was born. It reflects the sounds I heard, the movements I saw and the thoughts and emotions I endured. The real sounds, which I used, are my own recordings, made at location.
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Date: 1990
Creator: Eisma, Will, 1929-
Partner: UNT Music Library

La Hache

Description: It is really chance - which does things well - if the story of La Hache, talmudic origin, is in the company of secular and sacred texts, chanted, recited, sung in Arabic and Aramaic, this language spoken by Christ and his disciples, which is only used in a few churches in the Middle East. The processing of the voices is similar to what I do in my other acousmatic compositions, but the music was made using microcomputer to manage, modify, treat both instrumental sounds sampled and memorized, sounds synthesized.
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Date: 1988
Creator: Karsky, Michel, 1936-
Partner: UNT Music Library