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Eso silencios

Description: Recording of Coriún Aharonián's "Esos silencios" ("Those silences"). "Esos silencios" are the silences of our daily vital experience of the seventies in almost all Latin America. "We do not desire them, but they surround us always, until we finally succeed in breaking them," Aharonián wrote. It exclusively uses materials of microphonic origin. Some of the sounds have been made with instruments constructed in Guatemala by Joaqu’n Orellana. The decision to bring to life the piece at that historic moment was convergent with the emotional experience that the pricking edges of the delicate drawings by the Argentinian-Uruguayan Mar’a Carmen Portela and the gagged yell of the dramatic paintings by the Uruguayan Hilda Lopez. In Esos silencios there is a will to establish large, apparently static, areas, with latent tensions, in a structure of full hard edges, almost without the concession of transitions.The piece was originally composed in 1978 and was revised in 1981. It was realized in Elac, the studio of Montevideo. The materials of departure have been produced by the author
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Date: 1981
Creator: Aharonián, Coriún, 1940-
Partner: UNT Music Library

Sashasonjon

Description: Recording of Jon Appleton's Sashasonjon for synthesizer. In memorium Alexander Walden (26 December 1896-4 February 1981).
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Date: 1981
Creator: Appleton, Jon H., 1939-
Partner: UNT Music Library

L'imminence de la lumière

Description: Recording of Daniel Arfib's "L'imminence de la lumière" ("The imminence of light"). It is one of the several pieces of computer music Arfib created as a researcher and composer.
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Date: 1981
Creator: Arfib, Daniel
Partner: UNT Music Library

Espaces III

Description: Spaces first, they coexist, they pass from one to the other, mix, then, a break, the dimension is different: we have entered the micromonds of the sound that develop, as if the spaces had become immense -
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Date: 1981
Creator: Boesch, Rainer, 1938-
Partner: UNT Music Library

Tremola impressao

Description: Recording of Rodolfo Caesar's Tremola impressao. This piece is a mix of disparate languages: instrumental music, sounds of nature and electroacoustic music, resulting in a different kind of electroacoustic music. The material originates from earlier works, not always Caesar's, but manipulated to make it different. He tried to make useful the sounds that were condemned trash; without any comparison with "Fontana Mix" by John Cage
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Date: 1981
Creator: Caesar, Rodolfo, 1950-
Partner: UNT Music Library

Suiana Wanka

Description: Recording of Fernando Condon-Garcia's Suiana Wanka for tape. This work collects and develops independently the materials of a music scene for Peter Shafer work "The Royal Hunt of the Sun". It is based exclusively on sound recordings of various Latin American instruments such as the Indian flute, pincuyos, sicus, tarkas, mohecenos, various kinds of percussion, etc., to which are added, during some passages, instruments from European culture (organ, flute, bass). The original sound was made in a professional studio, and the final realization was made in ELAC, a small Montevideo studio, with the technical assistance of Carlos Da Silveira.
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Date: 1981
Creator: Condon, Fernando, 1955-
Partner: UNT Music Library

Balthasar's Traum

Description: Recording of Frank Corcoran's "Balthasar's Traum" performed at the Electronic Studio of the Berlin Technical University in close cooperation with Folkmar Hein. The work is based on an idea of a short story by Jorge Luis Borge and the Gospel of St. Mark about Balthasar Espinosa, a man who becomes involved with the Gutres people of Pampa and eventually dies by being hanged on a cross by the same people with whom he was so fascinated. It takes place in the great plains of the Pampa where Baltasar Espinosa is invited to his friend's ranch. To escape the monotony of continuous rain, he begins every night to read aloud to the fascinated Gutres people. They ask for him to reread the Gospel of St. Mark. Mysterious things begin happening during the dark days -- Baltasar cures an animal through 20th century means, something the Gutres have never seen before. The rain eventually stops. That night a virgin Gutre girl visits Baltasar's bed. The next day, he reads the Gospel to the Gutres for the last time. They then ask Baltasar, who is not a believer, if even those who crucified the Savior can receive salvation. They ask for his blessing, then they violently push him into a corner where they beat him and spit on him. Baltasar then sees the cross that has been prepared for him. The work is described not as a program work, but rather a sound correlation of scenes from history.
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Date: 1981
Creator: Corcoran, Frank
Partner: UNT Music Library

Snake Oil Symphony

Description: The Snake Oil Symphony (a metaphor for capitalist social relations, was composed in 1981. The first three "movements" of the Symphony establish the basic themes, along with an underlying rhythmic structure that crops up again and again throughout, as the tempo and pitch of phrases are used to create a sort of melody. Part One presents the surface reality of society as an endless movement of buying and selling, through the use of clips from a sales instruction talk, ads and so on. Woven through this is an ironic verbal-musical motif: "Now you can have this amazing new symphony, right in your own home," (which parodies cheap TV commercials), with piano notes underscoring the spoken pitches. The word "symphony" refers not only to a single work of art, but in the greater sense to "a mighty symphony of prosperity" (i.e. present social and cultural institutions). With the same phrase the composer is also letting the listener know that he knows his own work, too, is a commodity on the culture market. Part Two is built around a multiple pun on the words "alien" and "alienation." "Alienation" originally meant "sale." Marx used the terms to describe the way people give up control over their own lives in working for wages to create a society that "stands over and against them as an alien and hostile power." Crafts shows capitalism up for what it really is--a B-grade horror flick. In Part Three, irony is piled on irony in a kind of "allegro of cynicism." Voices of hysterical angst and ominous, barely-controlled fury, both provide a counterpoint to the "sales" motif and show how such "negative" emotions are now successfully merchandised along with everything else. The "symphony of prosperity" has begun to falter. Parts Four and Five further develop and elaborate these themes. ...
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Date: 1981?
Creator: Crafts, Daniel Steven
Partner: UNT Music Library

Music for two flutes and tape

Description: Recording of Joe Davidow's "Music for two flutes and tape." All of the sound material for the tape was originally played on the flute. The studio processing has has the aim of enhancing the inner harmonics and enriching the more obscure instrument sounds, bringing them to the forefront in inter-structural relation to the two live flutes. Breath, which is the original source of all the sound in the work, is itself an intricate part of the sound color relationship, together forming a structure of interweaving live and processed flutes, counter posing the real and surreal.
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Date: 1981
Creator: Davidow, Joe
Partner: UNT Music Library

Una pulce da sabbia

Description: Recording of Roberto Doati's "Una pulce da sabbia" ("A Sand Flea") for tape. This work utilizes a timbre space built on three dimensions: spectral energy distribution, spectral fluctuation, and high frequency energy which precedes the full attack of the tone. The sound synthesis models used are simple waveshaping and FM. The overall structure of the composition is generated by the projection on a two-dimensional space with frequency as the ordinate and time as the abscisa, of an architectural structure plan. Doati achieved the desired temporal extension by means of the ‘slowing perspective’ technique. As regards the choice and the treatment of the macrostructure and its internal organization, they depend exclusively on the compositional parameters: symmetry, regularity, direction, velocity, focus and flight point (terms borrowed from the visual arts world). The internal temporal organization of the polyphonic rhythmic structures that make up the macrostructure is given by the position of the focus. This one is determined too by the parameters above mentioned. Each structure takes the timbre that occupies the corresponding position in the timbre space. It was realized at the facilities of the Centro di Sonologia Computazionale at the University of Padova.
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Date: 1981/1982
Creator: Doati, Roberto
Partner: UNT Music Library

Aux lampions

Description: Recording of Bertand Dubedout's "Aux lampions" ("To the lanterns"). Lampions are small oil lamps, formerly popular as a carriage light. It is a concrete piece in three movements: "Bal convexe" ("Convex ball"), "Le cocher" ("The coachman"), and "Sous les planches" ("Under the boards"). For writers like Bulgakov, Gogol, and Chekhov, the ball scene is often a story of action, tragedy, or desperation; the ball can ruin an existence or bring hope. Delight, delusion, and loneliness are the multiple stigmata of the ball. The sound materials of the piece are all concrete sounds that are based on reality. The sound forms escape any precedence, combining to create images of incongruous weddings like in an agitated dream.
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Date: 1981
Creator: Dubedout, Bertrand
Partner: UNT Music Library

Reszere

Description: Recording of László Dubrovay's Reszere for percussion and tape.
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Date: 1981
Creator: Dubrovay, László, 1943-
Partner: UNT Music Library

Le grand silence d'un seul oiseau

Description: Recording of Will Eisma's "Le grand silence d'un seul oiseau" ("The great silence of a single bird") for tape. During World War II, a network of 40,000 km of trenches crossed South Flanders and the North of France. Still today, there remains part of these trenches as a long underground tunnel somewhere around Metz and Verdun. The composition represents an imaginary underground journey from Calais to the Swiss border, through the infernal moles, in the gloomy and frightening obscurity of this absurd war. The poem of Ab Van Eyk tells of these horrors: "Someone walks forward, slowly spitting out his lungs, while a bird pass near me, the gas ......... The night shows fiery angels, among the lights of the "no man's land "; until the twilight silence arrives, the great silence of a only bird, just before sunrise raspberry color." The piece was composed and realized in the studio Five Roses in April 1981.
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Date: 1981
Creator: Eisma, Will, 1929-
Partner: UNT Music Library

Le tombeau de William Byrd

Description: Looking for the fusion between the path and the band "le Tombeau de W.Byrd" attempts to contrast the instrumental character of Byrd's pieces with the various identities of electroacoustic music. Thus, the two writings do not meet, they coexist: one is a point of definition of the other, one is necessary for the existence of the other. Separated by small harpsichord pieces from William Byrd's "Battle", five electroacoustic sequences offer a journey into the world of loop music. Would "Tombeau de William Byrd" not be the opposite of mixed music?
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Date: 1981-1982
Creator: Fort, Bernard, 1954-
Partner: UNT Music Library

Dictée

Description: Recording of Bernard Gagnon's Dictée for tape. The majority of the material was executed in real time. The instruments used are voice, a pencil, and also a few oscillator sounds. An oscillator provided a wave that was delayed by tape, and then turned into a voltage to modulate the early sound: a self-modulating delay loop. The piece is a reflection on the anxiety of first learning to write as well as on the degrees of the distances of the writing. The dictation comes from a loudspeaker, while the writer's reactions and his perception of the loudspeaker are captured on the other channel using a microphone. We hear in succession and by degrees of writing: 1. The dictation only. 2. The presence of someone who listens. This presence is signaled by a microphone feedback on the other channel and then a cough. It is good here to specify that the feedback effects are voluntary and controlled. 3. The message changes channel because it becomes the pencil noise of the writer. 4. The transformations that the message undergoes as well as the act of writing of the character who, one realizes, dictates himself. 5. Echoes of his reactions, a kind of subjective consciousness. The subject is played with pencil. 6. Transformations of its same reactions. 7. A kind of connivance gun between dictator and dictation. 8. Bursting of personality.
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Date: 1981
Creator: Gagnon, Bernard
Partner: UNT Music Library

Pourquoi t'as jeté ta pantoufle?

Description: Recording of Xavier Garcia's "Pourquoi t'as jeté ta pantoufle?" ("Why did you throw your slipper?"). Garcia asks the listener to do two things when listening to the piece: to pervert your listening and to find drama where there is none. To is done through both concrete listening (identifying the surrounding sound world, hearing external noise and understanding the "clues" -- this sound is read as the index of a causality.) and abstract "reduced" listening (listening to the thing for itself, detached from its causal context -- a sounds characteristics, height, dynamics, articulations). Therefore, in the piece there is always a constant misunderstanding between listening to the counterpoint of different "ways" and listening to a casual reference anecdote. In addition, the ambiguity lies in the fact that the sound data that constitutes the anecdotal reference is also one of the melodic paths of counterpoint. The piece was realized in the G.R.M. studios in February and March 1981.
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Date: 1981
Creator: Garcia, Xavier
Partner: UNT Music Library

Conversations

Description: Recording of Werner Kaegi's Conversations: Partie 2: Automne.
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Date: 1981/1982
Creator: Kaegi, Werner
Partner: UNT Music Library

The fly

Description: Recording of Takehisa Kosugi's The fly for tape.
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Date: 1981
Creator: Kosugi, Takehisa, 1938-
Partner: UNT Music Library

Webs and Veils

Description: This work is performed on the Fairlight CMI with the output first processed by a Lexicon PCM 70 MIDI-controlled digital effects processor then by a Lexicon 224XL digital reverberator. The PCM 70 is in a "resonant chord" program, the 224XL is in a concert hall simulation program. With the exception of the glockenspiel, all of the fairlight sounds were created by extensive vertical layering of complex sampled sounds. These sounds, often as many as ten layers of orchestras, electric guitars, choruses, etc., were the first material for the thinning process of the PCM 70 resonances. The six resonances are all controlled by one MIDI controller which has a different scaling factor (degree of effect) for each one's pitch center. As a result, changes in the overall pitch area of the processor also change pitch relationships of the resonances. The sounds alternate between processed and unprocessed, with the glockenspiel usually acting as a signal of impending change or return to the melodic theme.
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Date: 1981-1986
Creator: Kramer, Gregory, 1952-
Partner: UNT Music Library

Variations on a theme by Davidovsky

Description: Recording of Arthur Kreiger's "Variations on a theme by Davidovsky" for tape. It uses the first 10 measures of Nario Davidovsky's "Synchronisms no. 6 for piano and electronic sounds" (1970) as a thematic subject. The theme appears orchestrated for tape alone approximately 45 seconds into the composition. It is preceded by a short introduction and is followed by a series of variations. These variations differ widely and explore an extensive palette of electronic sounds. The present version is a two-track reduction of a four-track original.
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Date: 1981
Creator: Kreiger, Arthur, 1945-
Partner: UNT Music Library

Targeting

Description: Recording of Henry Kucharzyk's Targeting for tape. The piece is based on the composers personal observations of the presidential campaign.
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Date: 1981
Creator: Kucharzyk, Henry
Partner: UNT Music Library

Static arches

Description: Recording of Thierry Lancino's Static arches. The inspiration for this piece dates back to June 1980 when Lancino first crossed the desert in Utah, particularly the Arches National Monument which is an infinite space of massive stone arches carved over time. Apart form the visual connotation, principles of intertwined independent arches is applied to the architecture of the piece itself, as well as tho the "filling" of the quadraphonic space, this helping the appearance of sonic sound holograms. The piece was entirely computer generated. The "Foonly" computer was in interface with a synthesizer-processor in real time called the Samson Box, a prototype which was designed and built by Peter Samson at System concepts in San Franscico. The method of synthesis is the frequency modulation of John Chowning. The compositional algorithms were developed thanks to Bill Schottstaedt's "Pla" program. Static arches was realized in the studios of Computer Center for Research in Music and Acoustics (CCRMA) at Stanford University, California, from November 1980 to March 1981.
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Date: 1981
Creator: Lancino, Thierry
Partner: UNT Music Library

Clair-Obscur

Description: Clair-Obscur, commissioned by the Musical Research Group, was composed in 1981-1982. The title refers to the chiaroscuro found in Rembrandt's works: the play of light and shadows that suggests a quasi-autonomous life on the surface of these paintings. In the composition, we find this game, realized in the sound matter, on the surface of which there are perpetual changes of nuances, colors and rhythm. Throughout today's western idiom and the technical means employed, we can hear distant echoes of certain popular music without being able to locate them. Thus very old and very current sources are integrated in a new sound world.
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Date: 1981-1982
Creator: Leeuw, Ton de 1926-1996
Partner: UNT Music Library

Polyphonie

Description: Recording of Alireza Mashayeki's Polyphonie.
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Date: 1981
Creator: Mashayeki, Alireza, 1940-
Partner: UNT Music Library