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Rebel

Description: Rebel is dedicated to the Bicentenary of the Revolution. In addition to its meaning, the title includes the syllable "el" being the abbreviation of "electronic". This work attempts to express the universal significance of the Revolution for the entire world with purely musical means. The repertoire of sound symbols includes some French revolutionary songs that are transformed electronically and integrate into the whole of the piece also electronic sounds.
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Date: 1989
Creator: Radovanović, Vladan, 1932-
Partner: UNT Music Library

Concertino

Description: The last few years have witnessed the appearance of highly-specialized fast microcomputers capable of synthesizing complicated spectra in real time. The establishing of MIDI communication protocol provided a precise and efficient way of controlling them by means of such devices – familiar to every musician – as keyboard, violin or drum. Implementing high level language compilers in micro-computers created the possibility of using them for generating non-trivial streams of MIDI signals, significantly enhancing the performing capabilities of humans. And since everything is happening in real time the performance nuances of pitch, dynamics and tempi of the piece can be controlled during the playing. It seems that this new technology will allow to overcome the rigidness of tape – an ultimate form of musical recording. All electronic sounds used in Concertino are generated by two Yamaha TX816 digital synthesizers. MIDI signals are produced by a Yamaha KX88 keyboard and a MacIntosh computer. The program collaboration in controlling the synthesizers was written in LeLisp at IRCAM, in the early months of 1987. France is also responsible for the Dorian flavor of the piece since all the music was derived from L'Homme arme – a fifteenth-century French song. The saxophone part is written out freely, allowing a performer much freedom for shaping the content of his part. The piece was completed in Stanford, in June 1987.
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Date: 1989
Creator: Krupowicz, Stanisław, 1952-
Partner: UNT Music Library

1789 Libegal FRA

Description: Ivan PATACHICH: 1789 Libegal FRA The title of the play is a date, known throughout the world, and an acronym containing the first syllables of the three slogans of the French Revolution: FREEDOM, EQUALITY, FRAternity. The sound materials of the play are those three words spoken and sung in nine languages, French, English, Spanish, Chinese, Arabic, German, Erithrenic, Russian, Hungarian, and the sampled structures of the vowels and consonants of these notes in nine languages, as well as two concrete sounds. These sounds are interlaced by a pre-recorded and modulated percussion part and another one of percussion "alive" / live / without modulation. The work has nine parts "atacca". Its bridge shape is phrased by rhythmic contrasts. After the fifth section, the sections return "in crayfish", but in a varied form. The stereophonic work was realized with the collaboration of Istvan Horvath, sound engineer, Gabor Kosa, impact, Agnés Mester, -soprano, Gabor Olah, -Baryton.
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Date: 1989
Creator: Patachich, Iván
Partner: UNT Music Library

Trois Regards sur la Révolution

Description: Eduard ARTEMIEV: 12 looks on the world of sounds The piece was made in 1970 with the ANS synthesizer from Murzin. The work begins with an introduction made with an instrument of the family of jew's harps, the "Temir-Komonz", Kyrgyz instrument whose sound is produced by the pinching of a small steel blade and whose resonator is the oral cavity . During the performance, there is a permanent drone, the basic sound of the harmonic scale. The melody is modulated by changing the opening of the mouth. In German, it is called "Monltrommel" (drum of mouth). 12 parts: first part: "The acoustic versions", second part: "The spectral line", third part: "The decomposition of the stamp", fourth part: "The harmony of the timbre", fifth part: "Variations of the movements and of rhythm ", sixth part" The inverted harmonic versions ", seventh part:" Horizontal-vertical polyphony ", eighth part:" The variation ", ninth part:" The symbolism ", tenth part:" The mounting of the stamp ", eleventh part: "Free play", part two: "It's the same timbre in a free game of all its harmonic sounds that are reproduced in a free rhythm on an equal dynamic level. To continue these variations could be interesting. The general line of the variations is the passage by zones and blocks towards the separated harmonics, towards their destruction and in the contrasted sense by collecting together the harmonics. The timbre space - this is the space of perspective. From here comes the form of the composition - from unity to the details that make up the structure.
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Date: 1989
Creator: Artemiev, Eduard, 1937-
Partner: UNT Music Library

1...789

Description: Haris XANTHOUDAKIS: 1 ... 789 It is the setting to music (of the "setting in rhythm", more precisely) of two Greek texts talking about the French revolution and illustrating two opposite aspects of its impact in Greece, still occupied by the Turks, of the end of the seventeenth century: a "Patriarchal letter" (sort of circular of the Patriarch of Constantinople, to read in the Orthodox churches), condemning the French who "practiced the fraticide, killed their king and lost their faith in God" (in this order) and, on the other hand, a poem by Antonios Martelaos (1754-1818), congratulating the French for having shed blood for the freedom of the people. The first text is played at the beginning and end of the song (phonetically reversed and in a normal voice, respectively). The other forms slowly, parallel to a rhythmic accompaniment, of "disco" nature. This double reconstitution will be done in steps of proportion 1: 2: 3: ...: 7: 8: 9. A portion of this proportion, namely 1: 7: 8: 9, serves to generate an interval pattern (semitone, fifth, sixth minor, sixth major) that appears in both its sequential and simultaneous forms. Repetitive music, "disco" music, serial music, for a piece that wants to celebrate a bicentennial, its contradictory way, while keeping its distance.
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Date: 1989
Creator: Xanthoudakēs, Charēs
Partner: UNT Music Library

La Guillautine Permanente

Description: The permanent guillautine or "Who destroyed my song", 1989, texts of Alphonse de Lamartine, Salomé Kestenholz, Théroigne de Méricourt, recited by Gunda König, 13'30 " produced at the ELAK studio in Vienna, Austria (Institute for Composition and Ele- ktroakustik / Hochschule für Musik und darst Kunst) My piece is based on a constructivist idea that I call "compact music". By mathematical division of a piece of music in 2,4,8,16 etc ... parts of the same lengths and by their overlays, one can arrive at a rather short summary, campact and gray. It is an object that contains all the elements of the package composition. I did this operation with the song "the permanent guillotine", musical elements revolutionaries. Between the birth of a song and its violent destruction ... "Who destroyed my song? ..." To this process are added texts on and Théroigne de Méricourt; in French the "biography of Lamartine, in German a critical reflection and" feminist "of Salomé Kestenholz edt a poem of Bertold Brecht.
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Date: 1989
Creator: Kaufmann, Dieter, 1941-
Partner: UNT Music Library

Tu Disais "Missie" On te Dira Monsieur

Description: A kind of electroacoustic medal in the form of a commemorative "Dramasonie" dedicated to those who lived enslaved in all times and in all nations. Served by those whose proud and contemptuous arrogance is the only reason for their desire for power and domination. Those are always present ...
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Date: 1989
Creator: Boeswillwald, Pierre, 1934-
Partner: UNT Music Library

Erase una Vez en Francia

Description: I feel that a revolutionary process is like a powerful and blind wave that emerges from the well of history until it reaches the surface of the present time by bursting with thousands of throats that sing and shout like a great choral mass announcing the beginning of new relationships among human beings, new hopes for humanity. This feeling has for me an eruptive musical force and I try to express it from "Once upon a time in France" where, with electronic sounds , I use a collage of texts and songs extracted from the materials that have been proposed to me by the organizers of the Festival, as expressive elements for the realization of my musical composition. I made this piece with a lot of love: -amour for France which for so long has been a light of freedom and culture -amour for its revolution and love for the idea of ​​the organizers of the XIX Festival de Bourges to provoke a meeting between creators and musicians of the world who sing the same historical festival, the same symbol, the same ideal: the French Revolution.
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Date: 1989
Creator: Asuar, José Vicente, 1933-
Partner: UNT Music Library

Gilotyna

Description: The composition was made for the Bicentennial of the French Revolution. Nomination for the "Treasury of artistic achievements - message on the occasion of the Bicentennial of the French Revolution and the Declaration of the Rights of Man and the Citizen", France 1989
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Date: 1989
Creator: Rudnik, Eugeniusz
Partner: UNT Music Library

Entropogel

Description: Recording of Richardo Nillni's Entropogel.
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Date: 1989
Creator: Nillni, Richardo
Partner: UNT Music Library

Punto y Aparte

Description: The revolution of a people is, ultimately, a tragic fact, it is a painful antecedent in the social process. It is violence that has been justified and continues to be justified among many interests and nonsense. The lifting of arms that pursues universal values ​​such as justice, freedom, democracy, etc., even if it is thought necessary, is not the most effective way. Such values ​​are not priorities for any country even if it makes us believe otherwise. The French Revolution, in addition to the impact it had on the interior, was the revolution of thought itself, an explosion of liberating ideas that spread vertiginously over a large part of the world, changing the road to the story. This room has the shape of a suite, it is called "Punto y aparte". I use a hyper-realistic language, organized with a lot of expressive freedom, with a certain pragmatism. The sound sources are diverse: Sound sculpture (metalophones made by Gabriel Macotela), violoncello, synthesizers, microtonal harp, ceramic flutes, various objects of metal, wood and glass, in addition to the actors.
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Date: 1989
Creator: Russek, Antonio, 1954-
Partner: UNT Music Library

Anaconda

Description: "Anaconda" could be labelled as a "naturalistic" work. Conceptually, the piece relies on the imagery provoked by the sound, and on the immediacy of the sound world and the integration of the flute part in terms of sound texture and musical material. Broadly, this work can be divided in three parts: 1) The very beginning represents the location : jungle, unfamiliar, exotic, moist, exuberant and very importantly, claustrophobic ( this last is maintained throughout the piece). It is here that we get our first glimpse of the anaconda, who, very soon embarks with his song, which is not unlike a requiem, but at times, this song or narrative, is interrupted by the sound of the anaconda itself and by its environment. It is very much like moving between 1st and 2nd person. 2) The environment is disrupted. Foreign sounds and activities invade our location. The jungle moves, everything is in motion, fear and flight take over. But, suddenly, we realize that there is a certain gracefulness in all this motion, that the flight is but a retreat, a withdrawal into itself, nature and eternal life, with the certainty of a return. 3) The rebirth. Like the Phoenix, the Anaconda is reborn, as myth, and as the reality of wisdom. A reflective and poised character, strengthened by the experience, the Anaconda reasserts itself, its place in relation to the environment, and its place in relation to us, the spectators, and at times participants of its story.
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Date: 1989-1990
Creator: Rosas Cobian, Michael, 1953-
Partner: UNT Music Library

Miranda en France

Description: First of all, I had thought of doing an opera on this theme. I remained frustrated. I only had one music sitting in front of the computer. It was a good experience, despite everything. I had begun my work without having a precise idea - it often happens - letting me be guided by instinct. This one brought me humor and irony. Is it logical to apply them to the tragic life of a national hero? May be. I saw the hero's life as animated film images that sometimes made me laugh, at other times I was paralyzed. Is it logical, respectful, to laugh and to paralyze before such a hero, whom I really like, by the way! Well, it's this movie - with music - that I finally realized. The work contains three parts. The first corresponds to the presentation of the character in its various aspects (solemn, joyful, gallant, dark ...). He is changeable. The second part could be called "Let's take a close look at what's going on". This is the war, which ends with a little quote from the Marseillaise in "the day of glory has arrived", but in an opposite sense because I wanted to say the opposite. For the third part, I prefer to refrain from commenting. It's a bit of Spain, France and Venezuela .. The work was done entirely at home, at home (Macintosh synthesizers, my children), without any analog mix. There are other things I could tell you, but will not do it.
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Date: 1989
Creator: Kusnir, Eduardo, 1939-
Partner: UNT Music Library

La couleur tombe, l'homme reste

Description: "There is oppression against the social body when one of its members is oppressed, there is oppression against each member when the social body is oppressed". (The Declaration of Human Rights and Citizen 1793). Order of the GMEB, "The Color" is composed by Marilyn Boyd DeReggi specifically for the courtyard of the Palais Jacques Coeur. The work commemorates the emancipation of the exclaves in the French colonies in 1793, almost a hundred years before slavery was finally abolished in the United States. The title is derived from the last line of a popular song of the revolutionary period that frames the play. The other musical materials were taken from the Gospel music of the "Jerusalem Baptist" church, a small black parish in the Maryland countryside. The music was recorded on Palm Sunday. "Free at Last," sung by Carlton Talley was an emancipation song first heard in Virginia the day after the liberation of slaves, now sung as a Gospel anthem Mr. Talley officiates at church and sings Gospels in the churches, the prisons and the Old Men's Centers (!), since the age of eight when he started singing in a quartet with his father and two brothers. He was chosen as a soloist not only for the beauty of his voice but also because he symbolizes for the composer purity of soul. We shudder to think that the grandparents of most of the people of this parish were slaves. The percussion instruments of the first part were created by imitating the beatings of the feet and the hands of the people of the church with the kalimba and the marimba. The vocal duet is actually only Mr. Talley's voice. The multi-media aspects were developed in collaboration with Mark Gaster, Gayle Behrman, Renee Butler, Mary Koong and Doug Quin. The composer ...
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Date: 1989
Creator: DeReggi, Marilyn Boyd
Partner: UNT Music Library

Stories Told

Description: Listening to someone tell a story is an experience common to all. This is where I drew the idea of Stories Told (Robin Dawes, text) who wants to explore the act of telling. But instead of being a particular story, the text is written in a computer-generated pseudo-language. It is known to give the impression of a real language, but it takes its importance in Told Stories as a signifying word. All listeners, regardless of their language or culture, share the experience of listening to a story told in a foreign language. The text was produced by software programmed by Robin Dawes. His software uses a statistical analysis of the Oxford English language dictionary to produce new words that have the same distribution attribute as the letter combinations of English. These words have been grouped into phonetic classes to create four distinct 'dialects'.
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Date: 13-11-1989
Creator: Scheidt, Daniel J. (Daniel Joseph), 1956-
Partner: UNT Music Library

Ce que Signifie la Déclaration des Droits de l'Homme et du Citoyens de 1789 pour les Hommes et les Citoyens des "Les Marquises"

Description: 17 articles of the Declaration of the Rights of Man and Citizen extracted from the French Constitution of 1789 are read by a 100-year-old woman who was born in France and grew up on the island of Nuku Hiva in the "Marquesas Islands" . The sound materials of the piece were recorded there in December 1988. The work is dedicated to the village of Anaho.
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Date: 1989
Creator: Appleton, Jon H., 1939-
Partner: UNT Music Library

Sens à Sons

Description: 1 Grrr, Mmm, Vvv, Lou 2 Artifices 3 Toward the golden Aural sense Sensoriel Sounds of senses Senses of sounds Sensations Senses to sounds
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Date: 1989-1990
Creator: Hermitte, Claude, 1955-
Partner: UNT Music Library

Trasparenze

Description: In one of his rare writings about music, Scelsi proposed a parallel between the formal elements of music and the emotional and affectionate aspects of the person. This concept has always fascinated and inspired me in my conception of new music, and might be interpreted as a powerful language of music, capable of relating perceptive modality to the physical power of man. This is an element which could be used as a source of inspiration, if one derives inspiration from the strong suggestions of nature, who with her great capacity for life, leads the way on a constant search for the re-discovery of the primary, that is, original, sonic sphere of man. Trasparenze is a timbric-phonic play between the density of the tape and the sounds produced by the flute which is principally addressed to eolian sounds. The formal development maintains a gradual timbric transformation of the sounds influencing the sphere of the space-time perception.
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Date: 1989
Creator: Biasutti, Michele, 1963-
Partner: UNT Music Library

Menta Re

Description: The piece has two parts. One of them is written and the other one is improvised. In order to do the written one, two small phrases of the flute and piano are used as input for a computer program which makes other phrases that are variations from the input. The results are other phrases that are combined "by hand" (with my intuition) in my best possible order to make the scores of flute and piano players. The improvised part is done by a computer system (in real time) and the human performers reacting from what the computer does. The computer, using the "M" program, plays a Kawai K1 synthesizer and controls the signal processors for the flute and piano. There is also a person controlling the computer who can "improve" in real time what the computer does. Performers: Eduardo Paus‡, flute/piccolo. Ana Vega Toscano, piano. Adolfo Núñez, computer and electroacoustic.
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Date: 1989
Creator: Núñez, Adolfo, 1954-
Partner: UNT Music Library

Ouverture

Description: Electroacoustic work of a documentary nature Order of the IMEB for the Bicentennial of the French Revolution. Made in the composer's studio. Program Music, developed on the basis of a double argument, on the one hand historical: the French Revolution and its impact in Lower Canada; on the other hand, in journalism: how do we perceive, today in Quebec, the impact of this revolution, what remains in our veins of French blood ... Mix of reminiscences of the past expressed through texts of archive and soundscapes, and a contemporary "image" of Quebec today in its North American context (urban ambiances, radio sounds, interviews on the street, sporting events, politics).
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Date: 1989
Creator: Daoust, Yves
Partner: UNT Music Library

Ensemble: 1989-07-05 - Summer Spectrum

Description: A concert presented at the UNT School of Music Concert Hall.
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Date: July 5, 1989
Creator: University of North Texas. School of Music. Department of Composition.
Partner: UNT Music Library

Doctoral Recital: 1989-01-23 - Randy Mitchell, trombone

Description: Recital presented at the UNT School of Music Concert Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
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Date: January 23, 1989
Creator: Mitchell, Randy
Partner: UNT Music Library

Doctoral Lecture Recital: 1989-06-26 - Randy Mitchell, trombone

Description: Recital presented at the UNT School of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
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Date: June 26, 1989
Creator: Mitchell, Randy
Partner: UNT Music Library

Doctoral Recital: 1989-03-27 - James South, trumpet

Description: Recital presented at the UNT School of Music Concert Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
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Date: March 27, 1989
Creator: South, James, 1957-
Partner: UNT Music Library