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Chicarra's

Description: "Chicharra's" is an ode to the Spanish landscape and the men populating this landscape. Sounds of nature such as the breath of the wind, the rushing of the rain, the rustling of the sea carry life in themselves. Thus the rustling of "Chicharra's", the cicadas, their singing narrative was recorded as a set of precious voices. These voices were sent electronically to the strings and then turned into new sounds. This process is comparable to that of instrumental music where the violin bow is coated with coniferous resin to awaken sounds. Thus the buzzing of the fly on my microphone has been transformed into a kind of huge chorus of men. With the poet Schierbeek, I exchanged the Spanish landscapes that we saw and listened to. From there, the poems are born. Poems with the subject of the little donkey, famous because irreplaceable, men work the earth, the thirst, the red earth, the dark wine, the family life and the evenings of Spain. It is the beautiful voice of Lino Calle de Segovia that I chose as an interpreter and it is by kissing the glance, in memory, the mountains of Gadarama that I consider "Chicharra's" as a tribute to Spain. Second prize in the category "Experimental Music to Program" at the XIV International Competition of Electroacoustic Music of Bourges / 1986.
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Date: 1984
Creator: Bruynèl, Ton
Partner: UNT Music Library

Houdinism

Description: Houdinism (1984) is a 12'20 "command of Swedish radio, an example of Lindgren's anti-sentimental side, and Houdini, the master of the escape, was the man who was locked in boxes with "infracturable" locks and chains, and of course he managed to escape from his freely chosen prison and was given the honorary title of "Master of the Escape." Lindgren's work is a complicated device with small and large "sound boxes" that are open or closed Depositif is designed to use a planar geometric system in which the opening and closing frequency of each of the boxes is controlled by a mathematical sine function. upper control level of the wave is a hierarchical system of proportions.The proportions of the soundboxes are decreases and the increases of each of them.what looks like chaos is a structured reality of how The expression is absolutely the opposite of rhetoric. It can easily be said, as Lindgren himself says, that music speaks for itself.
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Date: 1984
Creator: Lindgren, Pär, 1952-
Partner: UNT Music Library

Venceremos!

Description: On December 7, 1975, Indonesian troops attacked Dili, the capital of the Republic of East Timor, thus ending the Timorese people's brief but brave period of independence and beginning an era of savage colonialism that continues to this day. Concerned Australian supporters of Fretilin (that East Timorese resistance army that is still waging a bitter guerilla war against the Indonesian invaders) hoped for many years that the next Labor government in Australia would honor its pledge and bring pressure on the Indonesians to allow the people of East Timor to determine their own future. But when the government under Prime Minister Bob Hawke came to power it reneged on its promises, leaving Fretilin to fight on without even psychological support. In common with many Australians, I was outraged by my government's sell-out and resolved to offer what support I could. This took various forms, including the composition and performance of this piece; "Venceremos!" is an expression of solidarity with the people of East Timor designed to bring attention to the situation and to encourage others also to offer support through whatever means possible. Some of the music is an electronic realization of a Javanese trance dance, symbolizing the advance of the Indonesian army. The East Timor national song, "Foho Ramelau", is heard, firstly in sorrow then, at the end, in optimism. There are extracts from resistance poems by the late Timorese poet Francisco Borja da Costa, who was tortured and shot on the first day of the invasion, and a section combining "The Star and Stripes" (the United States of America supplies Bronco bombers and napalm to the Indonesians to use against Fretilin), "Advance Australian Fair", "Waltzing Matilda", and echoes of "Foho Ramelau". The music has been used in a videotape production about East Timor and in an audio-visual work ...
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Date: 1984
Creator: Wesley-Smith, Martin, 1945-
Partner: UNT Music Library

Halley 86

Description: Halley 86 is a large economy of expressive means, this electroacoustic music work is an image of the following visit to the famous comet Halley. This is also an expressive experience of the dramatic and psychological effects on the audience, pitches and notes. This is the description of a particular situation, a reflection on the desctruction of our day's life. Next to the music, resides the question: will we count in the next century?
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Date: 1984
Creator: Roloff, Julio, 1951-
Partner: UNT Music Library

Dialoghi

Description: It is not possible to describe in a few words a piece that does not have one, but many main ideas, all of them developed along specific trajectories sometimes independent, sometimes closely related. Several images are called to mind the quest for contact with the music, with the timbre, with forms and with poetry between the concrete and gestural sphere of the sounds made by the piano and the abstract, virtual area of electronic sounds. Dialogue and contrast, contact and rejection grapple in a complex universe, where, between fantasy and reality, timbre and harmony merge into a single kaleidoscope of feelings. The tape is solely made up of sounds synthesized with the MUSIC V program and mixed with G. Tisato ICMS program at the CSC at Padua University.
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Date: 1984
Creator: Stroppa, Marco, 1959-
Partner: UNT Music Library

Homo ludens

Description: This composition represented Polish art at the exhibition "Documenta VII" in Kassel, Germany 1985 and earned 2nd prize at the 12th International Electroacoustic Music Competition in Burges, France.
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Date: 1984
Creator: Rudnik, Eugeniusz
Partner: UNT Music Library

Tibia I

Description: *TIBIA I. *for soprano saxophone and electrroacoustic sounds was composed for a solo instrument and an accompaniment of electroacoustic sounds with the help of the computer program *CCOMP* (Computer COMPosition), which was created also specifically for composition of instrumental and vocal pieces. The basic compositional principle of the program is the use of pseudorandom numbers within defined limits. They are intended to simulate random processes typical of the activity of nature and the human brain. The result is a specific and self-contained compositional style. The electroacoustic sounds were realized in Electroacoustic Studio of Czech Radio in Plzen. In the "Marcel Josse Competition" in Paris (1984) have been awarded with the first prize for this composition and also was performed by *Daniel Kientzy*, an excellent player on soprano saxophone from Paris.
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Date: 1984
Creator: Růžička, Rudolf, 1941-
Partner: UNT Music Library

Synprov

Description: Inspired by the early minimal music of my first teacher, John Adams, "Synprov (for JA)" was improvised at the keyboard of the Synclavier studio at McGill University one day in February 1983 and subsequently decorated and touched up using the SCRIPT program. This was my last piece to use a regular pulse and modal harmonies throughout. The voyage away from and return to the opening repeated note creates a long arch over the piece, which consists of three connected 'movements' (or areas); the traditional fast-slow-fast.
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Date: 1984
Creator: Oliver, John, 1959-
Partner: UNT Music Library

Four Fragments and Epilogue

Description: The first three text fragments were inscribed on pyramids between the years 2350 and 2175 B.C., the fourth text fragment is the remains of an ancient Babylonian penitential pealm. The electronic sounds accompanying the text are fragments from four sections of another composition, Tetrachotomous for piano, violin, cello, and tape. In the epilogue, the text fragments are transformed into electronic sounds which are immersed into a texture of harmonic fields. Time and chance have worked on the materials, not only to corrode but to create new structures, new forms and new values to attract the mind. This work was composed for the Radio Canada program 'Alternances'.
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Date: 1984
Creator: Winiarz, John, 1952-
Partner: UNT Music Library

Dances of Illusion

Description: Recording of Tera de Morez Oyen's Dances of Illusion.
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Date: 1984-1985
Creator: Marez Oyens, Tera de
Partner: UNT Music Library

A Sea Inside Myself

Description: The sea is always moving, waving and roaring, fast or slow. Sometimes green or blue, dark or light, warm or cold. In the same way my mind is constantly in commotion. In my head, in my ears, inside myself. I tried to reflect these thoughts in this composition. The basic material is a recording of several percussion sounds, which are modulated electronically by a synthesizer, a Publison Harmonizer and a EMT 251 digital reverb system. The last one is a splendid machine for special effects, which I used in another way than the common way. The tape has been realized in the electronic music studios of Radio Hilversum.
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Date: 1984
Creator: Eisma, Will, 1929-
Partner: UNT Music Library

Fractal C

Description: Recording of Horacio Vaggione's Fractal C.
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Date: 1984
Creator: Vaggione, Horacio, 1943-
Partner: UNT Music Library

Digital Tantra II

Description: This work was premiered September 15, 1984, as winner of the 1984 Newxomp Competition. It is the second of three pieces which together form a set. The piece is dedicated to my daughter S. Michelle, whose singing voice provided a model for many of the synthetic voices, and also to my old friend and teacher, Mr. John R. Brasher.
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Date: 1984
Creator: Petersen, Tracy Lind, 1939-
Partner: UNT Music Library

Solobiloquio

Description: The title of this piece evokes both the "solitary" aspect of the one that one could imagine the interpreter (singer, modulator, ...) and the "two-dimensional" aspect, "dialogue" (almost all the piece is known in two layers, the second being made from transformations, shifted in time, of the first one, so that there is a work of variations both "stationary" - ("simultaneous" - "synchronous") - and "in time" - "successive". All the musical material derives from a single note (see title ...), which undergoes many variations of timbre, of "presentation", and which is often only a pretext for elaborations more complex (see, for example, the second part, where the soil is only the "reference note" the "tonic" of a complex harmonic system). The work was realized at the Studio of Electronic Music of the Research and Training Center Musicales de Wallonie, Lige, in 1984/1985. It exists in two versions: 4 tracks / 2 tracks.
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Date: 1984-1985
Creator: Sporken, Gerhard
Partner: UNT Music Library

To my friends – A Letter

Description: I dedicate this piece to all those who do not remain indifferent to the plight of others, to all our friends granting us their support, if only in their thoughts. I would like this expression of thanks for the assistance and solidarity to be accompanied by a message: make sure that our minds are not conquered by deceptive ideologies. - Bohdan Mazurek
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Date: 1984
Creator: Mazurek, Bohdan 1937-2014
Partner: UNT Music Library

Transparency for Harp and Tape

Description: This work was realized at the Institute of Sonology in the Netherlands and premiered in Tokyo in 1984. The tape part was created with real-time computer sound synthesis techniques, and real-time computer transformations of sections of the harp part. Two PDP-15 computers were employed in this process. For the real-time sound synthesis, the "PILEM" application developed by Paul Berg was used. The signal processing programs were written by the composer in FORTRAN and Macro Assembler. This work won First Prize in the Mixed Electroacoustic Music Category at the 13th International Electroacoustic Music Competition of Bourges, France, and was selected for performance at the 1998 International Computer Music Conference in Cologne.
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Date: 1984
Creator: Rai, Takayuki, 1954-
Partner: UNT Music Library

...Mourir un peu

Description: Where we speak, of course, departure, travel, farewell ("Leaving is a little dying ..."); but also of escape, of pleasure, of initiatory journeys, of imagined space and, again, of loss, oblivion, absence, "little death" and "great journey". It is not irrelevant that this piece was created in Marseilles, among the remains of the ancient Phocaean port; the first movement is a quick allusion to this journey back in time. The sea so close, inexhaustible and plural symbol, was to be present. She is, stubbornly. The wave proposes its energetic law to the whole and to the element: flow / reflux, growth / decay, appearance / disappearance. The concrete slides towards the abstract and then reappears. Points of anchorage in the real and furtive evocations (heard or guessed?) Emerge here and there. The origin of this work lies in an earlier piece, Vanishing Points, which she develops and which we find elements in the movement 4 (Theme of the flight). This movement constitutes the "peak of the wave" formed by the curve of increasing and decreasing durations of the nine movements. Some milestones for this route: 1- (2'04) Marine. Opening. Massalia / Marseille. 2- (3'32) Preliminary mapping. Generic, first lines, volume setting. 3- (5'30) A certain boarding. ... yes, yes, that one! 4- (8'43) Theme of the flight. To escape, to disappear: the "trip" and the flight. 5- (6'32) Transfer I. Passage from one place, from one order of things to another. 6- (5'16) In abyss. Mirror games; the fall at the bottom of the sky. 7- (4'11) Transfer II. New crossing. 8- (3'25) Palimpsest. Strata and holes in the memory, exfoliation. Mourning passes, stealth. 9- (2'41 + 2'28) It ritorno. On the trail of Ulysses. I thank Pierre Schaeffer and Pierre Henry who have kindly allowed me to borrow some ...
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Date: 1984
Creator: Dhomont, Francis, 1926-
Partner: UNT Music Library

Points

Description: Points was realized on a VAX 11/750 computer at EMS in Stockholm. Most of the source material was generated with a program called Chant. This program is especially designed for synthesis of the human voice, and developed at IRCAM in Paris, by among others like Xavier Roder. The material has then been processed and structured with a set of different "processing-programs".
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Date: 1984-1986
Creator: Lindwall, Christer, 1950-
Partner: UNT Music Library

Elektronikus Mozaik

Description: Electronikus Mozaik ("electronic mosiac") for stereo tape was commised by the Hungarian national film production organization, MAFILM, for a first performance in Budapest in May of 1984. The work was realized using digital sound generation facilities, in particular the Yamaha DX-7 synthesizer, at the Queen's University Electronic Music Studios in Kingston, Canada. The piece was conceived as a sonic analogy to a visual mosaic. Points of sound with various colors, or timbres, correspond to the bits of colored stone found in the visual mosaic. The sonic colors are worked into variously similar and contrasting rhythmic contexts intended to encourage the listener to move his/her mental focus among the larger and smaller levels of structure but to find coherence and, in particular, continuity at each of these levels. At the micro levels of the work the richness and variety of the individual points is meant to attract the listener's attention, while the macro levels comprised of interwoven streams of points merge into structures which are meant to engage and hold the listener's attention.
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Date: 1984
Creator: Keane, David, 1943-2017
Partner: UNT Music Library

The Description of France

Description: This is a personal recollection of a Paris which I never knew. It is an anecdotal remembrance of Jean Baptiste Joseph Fourier with more then a nod to Raymond Roussel and filtered through the radio of Jean Cocteau’s taxi. This is the Fourier of the mathematical memoir, On the Propagation of Heat in Solid Bodies, a somewhat controversial view at that time in which the author described the diffusion of heat by a partial differential equation which could be solved using an infinite series of trigonometric functions. The equations for Fourier analysis as it has since become known, also turned out to be very useful in the analysis and resynthesis of sound (which is very much like slow heat), and as such could be described as an infinite series of sine waves of different amplitudes, frequency and phase. Joseph Fourier was also the scientific advisor for Napoleon during the French invasion of Egypt in 1798. Beside his papers on mathematics, Fourier spent several years writing the Description of Egypt in 25 volumes and which Napoleon extensively rewrote, essentially changing history before it was allowed to be published. With its second edition however, Napoleon himself had become written out of the history of this period, and the story was retold minus his appearance. The Rosetta Stone was found by Napoleon’s troops during their invasion. The black granite slab inscribed with identical texts in demotic, Greek, and hieroglyphics provided Jean François Champollion, French linguist and proto-Egyptologist, with the key to the decipherment of ancient Egyptian hieroglyphics. This he finally solved in 1821. This somewhat confessional narration therefore, describes a small, insignificant and imaginary dinner party celebrating the return of the French scientific delegation from Egypt in 1801. Fourier was the guest of honor, and all his science buddies where there as well ...
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Date: 1984
Creator: Wendt, Larry 1946-
Partner: UNT Music Library

La cicatrice du geste

Description: Written for two analog, polyphonic and programmable synthesizers. This first sequence is a bit like a traditional sonata at the level of the spirit that governs the 4 movements that compose it as well as some formal concerns. However writing for synthesizers is a matter of instrumental design is typical to this instrument all that concerns the sounds used as the game modes, especially the systematic use of filtering as a game element or "montage" programmed sounds.
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Date: 1984?
Creator: Duchenne, Jean-Marc, 1959-
Partner: UNT Music Library

A Quiet Disturbance

Description: This piece for magnetic tape is - from several points of view - a confrontation of various worlds. First of all, on the music-technical level: the production process. The means of the classic studio, the manual aspect of the work on one side, the generation of basic sound materials on the other side. In addition, the piece is a confrontation of concrete sounds and electronic sounds.The complex spectrum of the human voice is used in this case as a "plastic algorithm" of great flexibility and considerable variability. A hybrid, quantitative analysis results in information that is used by the program to make decisions for controlling a program outside the computer. The program conceived and developed by the author (Oscar, acronym for Oscillator Artist) allows a complete navigation between one-to-one relations and a completely automatic algorithmic synthesis, in the human dialogue-to-machine. This piece was designed for tape but performed with live performance procedures. The piece uses some FM sounds recorded at the Studio of the University of Toronto in 1979. The piece was made in the private studio of the author. The final mix was performed at the IPEM studio, Ghent, in November / December 1984.
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Date: 1984
Creator: Beyls, Peter, 1950-
Partner: UNT Music Library

Later Bagatelles 1 and 2

Description: This work was composed at the Ontario Science Centre in Toronto as part of an Artist in Residence program. Inspired by Webern's Six Bagatelles, the piece seeks to travel far in a short period of time. The sonic textures build and change rapidly and sounds transform restlessly. In just over three minutes, an entire series of complex statements are quite complete. Composed on 16 tracks, with some sub-mixing employed, a large selection of digital and analog synthesizers were used. The mix is, however, ultimately homogeneous, while stretching the dynamics of the analog recording process to its limits.
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Date: 1984
Creator: Kramer, Gregory, 1952-
Partner: UNT Music Library