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Fire Music

Description: Computer programmes represent a gradual creation of an expert system which simulates artificial intelligence in a possible imitation of man's creation in music. In the global algorithm there are three correlated levels: 1. cosmosophic concept by Ž. Todorović (applied mathematics testing the noumenal word) as the control part of the programme participates in the coding of sound on the level of structuring reality of higher order; 2. processing of data subjected to total serialization, branching into modules of »frozen sound images from the past« (simulation of the modal system, tonal system or a style, for instance, Baroque); 3. realization of output on the level of phenomena: the choice of sound generators and possible mixtures, the effect on vital points of electronically generated sound, etc. This two recording of »Music of Cosmic Models« Saturnalias and Fire Music was made in Electronic Studio of Radio Belgrade in 1988-1989.
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Date: 1989
Creator: Šijanec, Marjan, 1950-
Partner: UNT Music Library

… und lächelnd ihr Übel umarmen

Description: "... und lächelnd ihr Übel umarmen" ("...and smiling embrace their evil") is a fragment from Hesiod's "Works and Days". It is Pandora who is embraced, an illusion of the Gods, captivatingly beautiful, but bearer of a myriad of evils. In my composition there are no sounds at all of living human voices or of musical instruments being played. I consciously did without the technique of sampling, which digitalizes real sounds and then reworks them with the computer. Everything is synthetic - artificial. That nonetheless apparently real sounds turn up in the music is intentional. Like illusions, they appear and disappear, coming close to being lifelike and yet still retaining their artifice - symbol also for the ambiguity of modern technology: both fascinating and potentially threatening. These sounds are produced through the computer programs Cmusic and CHANT. "... und lächelnd ihr Übel umarmen" is the introduction to my composition "Krypsantes" for computer sounds, big orchestra and choir (1995-2000) - a fragment which doesn't end, but breaks off. The piece was realized as a commission of the Berlin Academy of the Arts 1989/90 in the Electronic Music Studio of the Technical University Berlin and had its first performance during the Festival "Inventionen" in Berlin 1990. For the CD (Academy LC 1738), that contains compositions realized at the Electronic Music Studio of the TU Berlin, a special stereophonic mix of the quadrophonic original was produced.
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Date: 1990
Creator: Motz, Wolfgang, 1952-
Partner: UNT Music Library

Révolution ?

Description: This piece attempts to emotionally capture the political changes in the GDR and the consequences that go with them.
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Date: 1989
Creator: Lakomy, Reinhard
Partner: UNT Music Library

Antiphonae

Description: Was initially conceived as vocal music for two choirs, however the computer realization, which I prepared in 1987, took over from this first conception and resulted in a piece that would be hard to define. A11 the sounds have been synthesized. They originated by direct sound synthesis on the WAX/EMS computer using the CHANT program. These sounds created in the first two minutes of the piece. The sounds for the subsequent 12 minutes which form a kind of variations, are transformations of the original material, either through digital reverberation and delay or using voices and sound layers super imposed onto one another. They were realized at the polish Radio's Studio Eksperymentalne" in Warsaw in 1989. The central idea of the piece is the progressive decomposition. Starting from the "realistic" vocal sound it leads onto more and more "electronic" idioms, which never less retain elements of their vocal origin. The world premiere of the piece took place at the Techno-Musical Biennale in Koriyama, Japan in August 1989.
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Date: 1989
Creator: Kotoński, Włodzimierz
Partner: UNT Music Library

Yuevents 90

Description: Concerning its basic concept,the piece should have been inspired, as the organizers of the Synthèse FIMEB suggested it, by the extraordinary events in the East European countries. Though the abrupt changes of society structure,development of political pluralism, decline of communism, separation economics from politics could be the common features of all the countries, there is something specific in the Yugoslav political situation. The changes in Yugoslavia are not so bloody as in Romania but are complex like in Russia and can be only partly expressed by musical and verbal means. Some of them are characterized in the piece by specific words, rhythms and tune fragments which are musically worked out. Thus, the Albanian separative tendency is represented by words "gjaku" /blood/and "demokracia" /democracy/ shouted out by Albanian terrorists; the Clovinian wish to join Europa - by "Europa zdaj" /Europa now/; the hegemony of Croatian chauvinistic tendency - by "HDZ " /Croatian Democratic Party/; the gratitude of Serbian people for the restoration of their rights to be Serbian - by "Slobo/Slobodan Milosevic, President Of Serbia/- slobodo/freedom", etc. All the sung and spoken material was processed by means of a sampler/Akai S 1000/ and mixed with synthetic sounds. The form of the piece is evolutive, without resolving "cadence" - like the events themselves are.
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Date: 1990
Creator: Radovanović, Vladan, 1932-
Partner: UNT Music Library

Dizkus III

Description: Diskus is composed at EMS in Stockholm. Dizkus I is for wind-guintet and tape, while Dizkus II is for Wind Quintet alone. On layer of the Dizkus I - tape is a kind of "pace-maker", whose role is primarily to indicate tempi and to give clues of orientation to the musicians. The pace maker is entirely based on the Karjelus-Strong plucked string algorithm and the actual sounds used in the piece have been generated on the VAX 11 computer at EMS. The pace maker put of Dizkus I - tape turned out to be of more music potential than I had expected. The idea arised to elaborate this material in a third piece of the Dizkus "family", a pure tape - piece this time. Dizkus III is divided into two parts, the structures of the sound material in the first part is "triggered" by the original sequence of plucked string sounds, the second part of the piece expose the "real" string sounds in various ways.
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Date: 1990?
Creator: Bodin, Lars-Gunnar, 1935-
Partner: UNT Music Library

La Confession

Description: This work was created from a story entitled "The Confession" that I wrote in 1989. In Spanish originally, it was translated into Hebrew, French, English and German. Some of these texts in different languages have been integrated into the work. "Confession" records the psychological oscillations - from mental stability to madness or vice versa - that the protagonist goes through. "The Confession" of the human voice, the electronic instruments (synclaiver), the acoustic instruments (harp, trombone, cello, flute, percussion) and the concrete sounds create a semantic interaction with the syntax of the musical language.
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Date: 1989
Creator: Schmilovich, Sergio
Partner: UNT Music Library

Fermata via Media

Description: A shower of grains with an average duration of 80 milliseconds but perceived as a continuous sound produces shifts of changing timbres. The sound source for this granulation made in real time comes from samples whose mathematical data are recorded on a hard disk (it is quanta whose frequency modulation (FM) and the spectral envelope (formants) have been predetermined. ). The reading mode of these data is controlled in a way (as if read stuttering) to perceive as a musical gesture what could otherwise be a succession of brief and irreducible sound events. The piece is a psychological poem that explores aspects of pitch and interval, temporal perception, and timbre in a context of selective listening (auditory streaming). "Fermata via media" was produced (1990) at Simon Fraser University's Electroacoustic Music Laboratory with the help of GSAMX sampling programs for granular synthesis and compositional PDFILX developed by Barry Truax.
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Date: 1990?
Creator: Ablenas, Robert, 1959-
Partner: UNT Music Library

Adojio for Upic

Description: Recording of Georgiĭ Dmitriev's Adojio for Upic.
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Date: 1990?
Creator: Dmitriev, Georgiĭ
Partner: UNT Music Library

Alternances

Description: "Alternances" for violin, clarinet, piano, percussion, cello and tape was written in 1985, the electroacoustic effects being made in the studio of Romanian Radio-Television. The room consists of seven sections, including sections 2, 4 and 6 on tape. The 6th section on tape and "life" is the recurrence of the second section, of the same existing correspondence between sections 1 and 7, 3 and 4. The dominant idea of ​​the work is that of the imbsication of parallel music, with particular character and evolution. The music "life" is transformational, while that recorded in advance is non-transformational and has the appearance of a sound plasma; the first is discontinuous and the second - continuous. From the expressive point of view, the sounds "life" suggest belonging to the world of appearances; on the contrary, the sounds recorded on tape suggest a world of essences, permanence.
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Date: 1985
Creator: Iorgulescu, Adrian
Partner: UNT Music Library

Gandhi

Description: The electroacoustic composition "Gandhi" by the Czech composer Karel Odstrčil presents the fifth part of the free cycle entitled "Cabinet of wax figures". Each of these figures is characterized using unique sound equipment. For example for the composition "Einstein" we used the sound of the bows, "Curie" the voices of birds, "Kafka" the organ, "Amundsen" the hunting horns etc. The fundamental sound ground for Gandhi composition is created by the sound of flutes. By making this composition in the electroacoustic music studio in Pilsen (belonging to the Czechoslovak Radiodiffusion) in collaboration with the sound engineer Mr. Cestmir Kadlec, we have used the mirrored effect ("Spiegeleffekt").
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Date: 1990
Creator: Odstrčil, Karel, 1930-1997
Partner: UNT Music Library

Temazcal

Description: The title of the work comes from a word Nahuatl which literally means "burning water". Piece quickly explores a sound material frequently associated with maracas, harps, bamboos and a guitar. The live sound of the maracas comes from the traditional rhythmic patterns found in most traditional Latin American music, models that the performer is asked to combine with great dexterity to build wider and very complex rhythmic structures. These rhythmic structures are then confronted with passages of the same complexity on the tape, creating and developing ever more a "star" polyrythm that finally disintegrates. The path is then drawn for a traditional accompaniment game of maracas.
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Date: 1983-1984
Creator: Álvarez, Javier, 1956-
Partner: UNT Music Library

Glass Music, Opus 20

Description: Recording of Liviu Dănceanu's Glass Music, Opus 20.
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Date: 1990?
Creator: Dănceanu, Liviu, 1954-
Partner: UNT Music Library

Melólogo I

Description: The Melólogo is a musical genre of the late seventeenth century, in which a narrator tells a story (truth or fiction), accompanied by an orchestra or an instrumental ensemble whose music describes, colors and reinforces the narrated facts. A chronicle is the story of an event, written informatively. Melólogo 1, commissioned by the International Institute of Electroacoustic Music of Bourges, is part of a large suite composed by 35 composers of different nationalities to commemorate the Bicentennial of the French Revolution (1789-1989). This composition is a narrative / musical description of the slavery of the black race from 1789 until the beginning of the 20th century. The different sequences of the play are: the forest and the hunting of the Negroes, the boat trip, the arrival (at the port of Sancta María de los Buenos Aires), the sale of slaves, the announcement of the liberation and the party final. During each sequence, narrations, poems written by black poets who lived in the French colonies, descriptions of diseases, sale prices of slaves, names of boats, captains and the arrival at the port of South America. From the sound point of view, the composer chose motifs and samplings of melodies and rhythms collected by the French musicologist Stephan Chauvet (in his book Musique Nègre, published in 1929), which record the songs of the canoeists of Congo, the songs of war exalting the fighters, and songs in honor of the Europeans. There is also, a fragment of a choral song of the seventeenth century dedicated to the liberation of slaves, sung in French language which proclaims "By chance would you be less interesting in the eyes of the White Republicans? ... The color falls, the man remains ". There is, moreover, a clear allusion to the Marseillaise and at the end, the sound ...
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Date: 1989
Creator: Serra, Luis María
Partner: UNT Music Library

In Aquas Scribis

Description: This piece is thought a a real "live electronics" work which should be interpreted not only by the bassist but also by the "mixer". Because the bass part has a place for individual interpretation, the mixer probably has to adapt to the prepared sequencer – parts by leaving voices or changing the relations of volume in between the "tracks". In this piece, I tried to use my musical youth and roots. I started to contact with music by playing recorder and listening all the music around me (my father used to listen to Beethoven and Mozart the whole day) and by playing drums in a rock band. This mixture was the sound of my youth and I tried to recreate it.
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Date: 1989
Creator: Heiniger, Wolfgang
Partner: UNT Music Library

Awaking (the first awaking the second water)

Description: This piece is in guest of the real chances of a dream world coming true, whose incessant changes lead its way into an infinite make, only awakening opens gate a reality. A new space is created. The "water" is incessant struggies of life for realisation. It is the constant recurrence of hope, struggle, and annihilation. Reality is alarming; it would like to escape into a dream. Then everything begins again.
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Date: 1989
Creator: Csont, István
Partner: UNT Music Library

Night-Flowering… Not even sand II

Description: The title comes from fragments of poetry by Thomas Merton. The music is inspired by a visit to the Arabian Desert. The sounds were all generated digitally using "Csound"; with the score created by a family of programs using a non-linear "Chaotic" function.
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Date: 1990
Creator: Harley, James, 1959-
Partner: UNT Music Library

Fantasy Quintet

Description: "Fantasy quintet" for piano and computer was composed in 1977-78 for pianist Dwight Peltzer, on a commission from the National Endowment for the Art. The work is cast in three movements, with cadenza-like material appearing in the middle of the first movement and near the end of the final movement. It was my intention from the beginning to compose a work that would allow the performer to play with some degree of freedom and in a vituoso style. Throughout most of the work computer is limited to four voices, each having its own speaker. The somewhat whimsical arrangement of the speakers about the piano is important to the central idea of a quintet with the piano as a concerto instrument. The "Fantasy quintet" is meant to resemble a chamber concerto in terms of its volume and its frontal stage characteristic. In at least one sense this rather traditional and perhaps heroic plan would seen to be out of step with a medium using loudspeakers, which people often view in a detached or impersonal way. Yet it was that condition which I wanted very much to investigate in the "Fantasy quintet". The work attempts to personalize the speakers, and their sounds are those of natural instruments such as the trumpet, the clarinet and the drum. These musical timbres served as a point of departure for the composition. Many of the ideas for the construction of the pieces grew out of the computer algorithms, which we often call computer instruments. My work on trumpet tone synthesis in recent years is certainly related to the computer sounds in the "Fantasy quintet". The work also owes a great deal to the synthesis work of John Chowning, Jean-Claude Risset and John Grey. The musical material in the "Fantasy quintet" varies considerably. The first movement, "Ringing", ...
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Date: 1978
Creator: Morrill, Dexter
Partner: UNT Music Library