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Tutinax

Description: Recording of Jarmo Sermilä's Tutinax.
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Date: 1991
Creator: Sermilä, Jarmo, 1939-
Partner: UNT Music Library

Les Douze

Description: At 12, French, of Russian origin, Jewish, I could carry my head up, believing myself protected from the shame of belonging to the camp of the executioners. At fifty, I have the bitterness of not having this good conscience. And the poor consolation of thinking that it would have been the same, if I had been born elsewhere, earlier, later ... The Twelve, this magnificent poem by Alexander Blok, written in January 1918 to testify of the Revolution (guided by Jesus Khristos -invisible-) is only a pretext. A necessary pretext, indispensable, as much by the beauty of the text as by what it implies. Around this rock, fragments of other masterpieces, but also unknown poems, unpublished poems, words. And the use of these languages, all beautiful when they are intended to love, to understand, unfortunately to hate too ... "The Twelve", like many of my electroacoustic works, is an oratorio made from recordings of natural elements (voices, instruments), numerous montages, innumerable mixes. This is not just a technique that I chose very early to make mine, but a specific approach to composition, allowing for both the voice and the instruments, the use both controllable and directed by a superposition of rhythms, melodies, and independent polyphonies.
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Date: 1989
Creator: Karsky, Michel, 1936-
Partner: UNT Music Library

Oro, Argento & Legno

Description: Oro, Argento & Legno ("Gold, Silver & Wood") is once again a large-scale work, this time for flute (or rather for flutist, who is asked to play not only a regular flute but also an alto flute and piccolo) and computer. It is a virtuoso work requiring a great deal of technical precision and agility from the flutist who at the same time is given ample opportunity to display his powers of musical interpretation. The form of the piece approximates a freely transformed and re-interpreted symphonic concerto with five major sections, played without pause, each having its own textural, timbral and rhythmic characterization which contributes to the shape or curve of the composition conceived as an organic whole. The major unifying force across the sections is the intervallic material played by the flute, derived by means of a rigorous adherence to the composer's highly flexible dyad system. This system furnishes not only the flute part but also the basic generating intervals for the electronic sounds. The flute's intervals are transformed into the electronic sounds by various methods, with the result that there are (at least) two versions of the same fundamental musical material going on all the time, a kind of counterpoint in transformations. The dyad system characteristics begin with purely musical conceptions which are then elaborated by a variety of procedures into an audibly coherent hierarchically structured whole. The composer's musical ideas, his way of hearing things, are what determine the nature of large and small scale structures and how they will be developed by and within the system at each step along the way. Oro, Argento & Legno was written for and dedicated to the Florentine flutist, Marzio Conti who has recorded it for Wergo. The title of the work refers simply to the three materials of which ...
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Date: 1987
Creator: Dashow, James, 1944-
Partner: UNT Music Library

La memoria dei minerali

Description: Composition about mineral's world. Sound are linked and harmonized together following the idea of talking minerals. Sounds synthesized on a YamahaTX81Z. Technical notes: Languages: Basic, Machine language 6510 Programs: C-Lab notator, Digidesign Softsynth, Turbosynth, Steinberg Cubase Midi controllers: Steinberg, Yamaha YME8 Computers: Commodore 64, Atari ST 1040 Tape machines: Revox A77, Teac A1230, Teac A3440 Mixer: Roland M160 Analog signal processors: Cabre AF34 stereo equalizer, Dynacord MDL110, Art Multiverb Synthesizers: Yamaha TX81Z Samplers: Roland S50, S330 Stereo 16bits 44.1Khz
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Date: 1990
Creator: Pedrazzi, Marco, 1959-
Partner: UNT Music Library

Distractions pour l'Éternité

Description: Distractions for Eternity is the last - for now - works of Kosk. A work born from an order placed with the Musical Research Group but, as is often the case, the final result and the first ideas have changed along the way. The arrangements for the material used for this composition were made at the GRM studio in Paris, but the mixing, and thus the work of final composition, took place in Helsinki in the autumn of 1985, in the calm of long days and nights. white. Kosk's method is deductive. The composition of the entire work was born from two recordings of about 10 seconds each. One contains the sound produced by the rotary movement of a kitchen whip, the other sound is produced by the friction of the blades of two swords together. From these small cells and their transformations is built a static music, severe, one of the main parameters is time. In other words, as its title says: what distractions do we need in eternity?
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Date: 1989
Creator: Kosk, Patrick, 1951-
Partner: UNT Music Library

Quête

Description: The composition comprises of two sections: In the first, the quest begins. Tension is built by the use of glissandos and timbric glides that converge and diverge from certain pitches never resting for long. The quest or searching builds up until its inevitable conclusion, finding, and in the rythmic aftermath the very simple timbric and pitch material to be developed in the second section is presented. The second section develops the rhythmic pulsations. They mix and interfere with each other in progressively more complex patterns until the remembrance of the quest returns quietly. This material takes hold of the composition without entreily displacing the pulsating theme and both conclude turning the remembrance into reality. All sound materials are originally created patches for a CZ101 synth. The 8 step envelopes are used in 4 oscillator patches to the precise glissandi that comprise much of the material. The sounds were orchestrated in 12 parts which are the 12 stereo tracks later recorded. All the materials were arranged and sequenced from a Commodore 64 computer using Dr. T Keyboard Controlled Sequencer without tape sync.
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Date: 1986-1987
Creator: López, José Manuel, 1956-
Partner: UNT Music Library

Masked Rituals

Description: Experiments with Barry Truax's real-time granular synthesis led to the raw ritualistic sounds which form the core of this piece. Both vocal samples and FM grains are used and interelated as much as possible. The masks of the title refer both to a technical level where tendency masks formed the basis of much of the programming, and a more abstract level where the vocal and FM sounds are 'masked' as much as possible to present a unified whole. I also like the suggestive imagery of these words, although no specific masks or rituals are being described.
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Date: 1989
Creator: Elmsly, John
Partner: UNT Music Library

Sequence Symbols

Description: Sequence Symbols exemplifies the composer's exploration of the concept of modulation spectra considered as inharmonic "harmonizations" or chords. The gradual transformation of basic note groups related by common tones provides the underlying pitch structure. Each group so derived in turn furnishes the intervals that are treated as generating dyads for the inharmonic chord-spectra. Chord-spectra can be enlarged by the simultaneous sounding of the chord with its transposition at a desired interval. In this way a variety of tension and release patterns are created by associating a specific interval with various kinds of chord spectra. Common frequency components between the chord-spectra provide a basis for hierarchical structuring of the materials generated by each note group and its possible interval transpositions. The general wavelike form of the piece (at times dramatic, ironic or static) corresponds to memoents of prominence by a note group or interval or their transpositions. On another level, the wavelike shape of the piece can be attributed to the interweaving of sections and their interruption of and by each other. The conception of the work varies from symphonic scale to inteimate chamber-music proportions - a formal combination that seems rather well-suited to music conceived in terms of digital sound synthesis and processing. Sequence Symbols was realized during the winter and spring of 1983-84 at the Centro di Sonologia Computazionale, Universita' di Padova, using the composer's expanded version of MUSIC360 (Vercoe) and ICMS (Tisato). added note: the analog tape copies of Sequence Symbols all became unplayable, most of them having been recorded on that infamous Ampex 456 tape that with the passing of time created horrifying problems for the thousands of users that had entrusted their work to that unreliable product. But who knew at the time? Just before the Centro di Calcolo (computer center) of the Universita' di Padova ...
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Date: 1983-1984
Creator: Dashow, James, 1944-
Partner: UNT Music Library

Mixte

Description: Mixte (1982) is a pedagogical piece that is part of the Melange collection (volume 2) published by Heugel: the purpose of this collection is to introduce the flutist student to contemporary game modes, and especially to the game. of "mixed" rooms where the instrumentalist dialogues with the digital sound recorded on a tape or other recording medium. Thus, the flute part avoids the acute register of the instrument: but it resorts to flatterzünge, sounds noises, percussion keys and licks. The collection joins the score a cassette containing a copy of the magnetic tape, and also the recording of the complete piece with instrument and tape. The tape, entirely computer synthesized, presents several soundscapes, sometimes in imitation, sometimes in contrast to flute sounds, which it often prolongs or harmonizes; she strives to avoid mechanical quality and conduct musical phrasing. The concerting relationship between the instrument and the band is in the character of chamber music.
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Date: 1986
Creator: Risset, Jean-Claude
Partner: UNT Music Library

Winter Romantic

Description: Recording of Lárus Halldór Grímsson's Winter Romantic.
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Date: 1983
Creator: Lárus Halldór Grímsson, 1954-
Partner: UNT Music Library

Suite Animalière

Description: Piece written as a series of movements with different paces using concrete materials generated by the human breath. Theatrical space littered with realistic elements, a plot takes place in an exotic landscape. Opening of the "clap" and discovery of a theme with drawn figures, tense, fast, brief, where we feel the flight, the pursuits, the stops. Limit scenes, on the lookout exhibiting the anguish of the head, a very close space probably violent, very animal expressionist cries, existential, revolted perhaps those of unreason. Other images are drawn from some elements of this theme bringing other wider spaces deeper, moments of rest and why no worries. Images of this divine and nocturnal life, in contrast where the sound universe rocks, the night is something else. Appearing again of the theme twice in the form of a leitmotive giving a glimpse B.D in duality with the dramatic rise of the story. Difficult situation, always breaking inevitably bringing panic, the last run distraught. Caught in the whirlwind of the Horde, some rebounds, traces, snatches of this life. The cry of being.
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Date: 1989
Creator: Billaudeau, Bruno, 1954-
Partner: UNT Music Library

Noctuel

Description: Recording of Gilles Racot's Noctuel.
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Date: 1987
Creator: Racot, Gilles, 1951-
Partner: UNT Music Library

Illynx

Description: I found the term "Illynx" many years ago when I read a book (I forget the title) about the importance of games among vertebrates. The word Illynx had a semantico-linguistic link with the notions of the game specifically in birds, referring more particularly to the impulse in some species to fall down from immense heights until the last second before restoring the normal flight, deliberately curling their own annihilation ... all for pure love of play and thrills ... Reading this passage gave me the desire to create, with sounds, a sensation of dizzying fall followed by controlled flight. I recorded this piece in a chapel, playing it at once, through several speakers ordered separately, a bit like an 'acousmatic' broadcast. The main instrument: Yamaha TX 802, with FM technology, now a museum piece. This composition represents the last time that I tried to do without the use of fixed heights tonal / atonal, except for my composition The Voice Does not Wear Mask.
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Date: 1989
Creator: Olsson, Justice, 1949-
Partner: UNT Music Library

Introdução à Pedra

Description: This is the first in a cycle of pieces made of the same base material: samples taken from recordings made in a kneader and with a flint block.
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Date: 1978
Creator: Caesar, Rodolfo, 1950-
Partner: UNT Music Library

Contact

Description: The Desert Burning, scorching The Wind Scratching, tearing The Rain Penetrating, driving The Waves Endless, drenching But nowhere a cup to quench The Thirst Relentless And when our eyes met and we began our run and when it was over: We were one "Contact" was composed for Canadian Contact dance troupe Au-delˆ Danse and has been winning international awards in Bourges, New York, Montreal and Britain.
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Date: 1989
Creator: Holland, Brent, 1957
Partner: UNT Music Library

Fatti non foste per viver come bruti...

Description: It has been composed and synthesized between March and May 1989. It is based on two typical musical situations: tension-waiting and relax-solution alternated in a formal enharmonic and arhytmic contest. Tension/relax is the dualistic engine of the world and in this case it represents the question and the answer, ignorance and knowledge. The work has been done using music languages (Cmusic, Music360) and commercial devices. Cmusic and Music360 implemented at DIST of Genoa University and at CSC of Padua University. Commercial software Digidesign Softsynth and Turbosynth on a Atari ST 1040 and Additive, frequency modulation and sampling synthesis. Technical notes: Languages: CMusic, Music360 Programs: C-Lab creator, Digidesign Softsynth Midi controllers: Steinberg Computers: Atari ST 1040, VAX 11/750, IBM 360 Tape machines: Revox A77, VTR Panasonic NV-H75 HiFi Mixer: Boss Km 60 Analog signal processors: Cabre AF34 stereo equalizer, Dynacord MDL10, Korg A3 multi processor Synthesizers: Yamaha TX81Z Samplers: Roland S50, S550, S330
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Date: 1989
Creator: Pedrazzi, Marco, 1959-
Partner: UNT Music Library

Across the Evening Sky

Description: "Across the Evening Sky" consists of sustained, slowly changing sonorities and pedal figures which gradually evolve across a variety of registers, densities and intensities. Formal cohesion is achieved via a process akin to isorhythm, wherein large-scale repetitions occur at varying rates, thus resulting in ever-changing juxtapositions of material. The composition was realized at the computer music studio of Northwestern University in the winter and spring of 1987, and received its premiere at Dartmouth College in October of that year.
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Date: 1987
Creator: Mickel, John E., 1961-
Partner: UNT Music Library

Tuneless Circles

Description: Recording of Emily Brant's Tuneless Circles.
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Date: 1988
Creator: Brant, Emily, 1965-
Partner: UNT Music Library

Vanishing Point

Description: Vanishing Point is made entirely of sampled percussion. It stretches certain possibilities of what a live percussion ensemble might do rhythmically and sonically, using computer control to get these effects. While hunting for sounds that belong to a large ensemble of percussion, I wanted to somehow preserve the drum machine quality of the sampler used (a Sequential Circuits Studio 440). That proved easy. Phrases playing these sounds were generated algorithmically using a microcomputer (Mac Plus running MIDI Lisp). Four classes of phrases evolved, distinguished by their rhythmic feel. The "nature" type includes the jangling of wind chimes or scratchy sounds from a room next door. The "expressive" type has a certain drummer-like feel. The other two provoke associations of engine-like mechanical rhythms and dreamlike rhythms. The material was recorded and assembled into a final montage. The guiding notion was to play with persistence of phrase images, so that in the course of the piece they are being forgotten, remembered, ignored and transformed by each other. The only unique instrument that was sampled is a Stegosaurus. It has plates of metal mounted along the back of a wooden box which are either bowed or struck. Soft,vare by Xavier Serra was used to extract the bow-noise sound of the Stegosaurus. The interactive panning program of Marina Bosi was used for stereo effects.
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Date: 1989
Creator: Chafe, Chris
Partner: UNT Music Library

Diálogo con mi Anciano

Description: I composed this work during 1988/89 at the L.I.P.M in Buenos Aires. The electroacoustic material was mainly generated and processed with an ARP 2600 synthesizer and other analogues devices, that's why its title. The guitar part -five little pieces- belongs to a largest piece for guitar alone (Dobles A, 1988). The formal organisation keeps the articulation in five parts but, four interludes and a finale -with only electronics sounds- were intercalated and superposed, producing different kinds of imbrications with the guitar part. In the relation between guitar and tape, I hardly could ignore the two main options in this kind of works (timbrical opposition/timbrical interpenetration) yet the dialog is not based mainly in the timbrical characteristics of materials but in their structural features like articulation, velocity, density, mobility, etc...; as well as in their possibilities to execute different formal functions. There are no sounds of guitar processed in the electronic part, but its material was generated by using variations on the pitch structure of guitar parts as main sound source and also, in some cases, as a control signal for different kinds of modulations. Finally, I must say that, When I heard my piece finished, I felt very surprised by the fact that, in many cases, the "elder" seemed youngest than the "younger".
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Date: 1990
Creator: Liscia, Pablo di, 1955-
Partner: UNT Music Library

A Jete

Description: Recording of Timothy Correa-Hunt's A Jete.
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Date: 1989-1990
Creator: Correa-Hunt, Timothy, 1934-
Partner: UNT Music Library

His Master's Voice

Description: This work is in a phrase from "Doktor Faustus" by Thomas Mann. This phrase ("in art all recently arrived strives towards an unpublished form") has been recorded with the voice of the composer himself (hence his title) in a sampler to, then separate the phonemes and transform them (through digital filters, generators of envelope, loops, etc.) in musical sounds in which, finally the voice is not recognized. The phrase, divided into three inverted parts, is what shapes the work. In each part only the sounds formed with phonemes or phoneme combinations that make up that part of the sentence are used.
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Date: 1990
Creator: Nuix, Jep, 1955-1998
Partner: UNT Music Library