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And Then She Said

Description: The concept of "And Then She Said" evolved while I was working on the music for the production of "Medea-Plays" conceived and directed by Ed Isser at the Stanford Drama department. Ed had the ingenious idea to use four narrators, backstage, each reciting a different version of the Medea story in a different language (Greek, Latin, French, or German), while four actors on the center stage spoke in English. The rich musical possibilities that this idea offered attracted me immediately. With Ed's permission, I recorded the four narrators in the four languages. They spoke the text just as in the play, but I also included some variations such as having them whisper the text, or sing it on certain specified pitches. I then processed those recordings with a Lexicon digital reverberator, and combined them with some of the computer-generated sounds I had used for the original Medea score. The actress does not play the role of Medea; instead I chose to juxtapose the Greek myth and an opposite idea: the Judeo-Christian symbolism of child sacrifice as the ultimate religious commitment, as in the stories of Isaac and Jesus. The story that I adapted for this piece is that of Hanna and her seven sons, taken from the book of Maccabees. "And Then She Said" was written between September 1986 and March 1987. It is dedicated to the memory of Catholic archbishop Oscar Romero of El Salvador, who was assassinated there on March 24, 1980 for his beliefs.
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Date: 102865
Creator: Wolman, Amnon, 1955-
Partner: UNT Music Library

Ran

Description: Ran claims to be a sonorous flow where the almost pseudocasual control substitutes itsel to human creativity in different ways. There is a playful alternation, through differents levels of generation, of the creative-compositive process between man and machine. The creative casual process of the machine, once fixed the range, determine the choice of the human creative process. The title RAN (Heran) means that only the interactive comprehension between the casual thing and the determined one can provide balance. In this way the opposites are no more incompatible but complementary, and any of them gives hints to the other making them closer to the aim. Musical events had been realized At DIST of Genoa University and in the composer's studio, using CMusic language. Technical notes: Languages: CMusic (inplemented on Vax), Machine language 6510 Programs: Composer's own program Computers: Vax 11/750, Microvax, PDP 11/23, Commodore64 Tape machines: Revox A77, Studer A-807 Mixer: Tascam M-208, Boss Km60 Analog signal processors: Cabre AF34 stereo equalizer, Pioneer reverb SR9 Samplers: Roland S50 Stereo 16bits 44.1Khz
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Date: 102835
Creator: Pedrazzi, Marco, 1959-
Partner: UNT Music Library

Dab

Description: Recording of John Oswald's Dab.
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Date: 103436
Creator: Oswald, John, 1953-
Partner: UNT Music Library

Water Phases

Description: Recording of Satoshi Sumitani's Water Phases.
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Date: [1932..]
Creator: Sumitani, Satoshi, 1932-
Partner: UNT Music Library

Orphée 53

Description: Recording of Pierre Schaeffer's Orphée 53.
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Date: 1953
Creator: Schaeffer, Pierre, 1910-1995
Partner: UNT Music Library

Dripsody

Description: Recording of Hugh le Caine's Dripsody. It is an study for variable speed recorder. It was composed in one night. Le Caine used a recording of a drop of water falling into a bucket, which he re- recorded different speeds, obtaining the heights of a pentatonic scale. Using 25 connectors and the variable speed tape recorder, it produced thousands of sound effects. Dripsody begins with the original sound of the water drop, repetition loop. Shortly afterwards, by adding more loops, the density of the sound increases and an arpeggio figure is produced. The complete work, lasting one minute and twenty-six seconds, was finished at 7.30 am, and Le Caine played it for those who arrived at the laboratory.
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Date: 1955
Creator: Le Caine, Hugh, 1914-1977
Partner: UNT Music Library

Ninety nine Generators

Description: Recording of Hugh le Caine's Ninety nine Generators. The title refers to the 99 organ sound generators sensitive keys - a separate generator for each note of the keyboard that can all be operated simultaneously. Le Caine here uses a resonance pedal and a device that can change the pitch to produce a vibrato or long glissandi impossible to achieve on an organ. The particular reverb of this piece is caused by the unusual acoustics of the place where it was realized.
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Date: 1956
Creator: Le Caine, Hugh, 1914-1977
Partner: UNT Music Library

Sonotranjosti

Description: Recording of Bor Turel's Sonotranjosti.
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Date: 1956
Creator: Turel, Bor
Partner: UNT Music Library

Invocation

Description: Recording of Hugh Le Caine's Invocation. The piece opens with a trio of three recorded sounds: a glass that is broken with a hammer, a ping-pong ball hitting a racket, and a drop of water. These sounds are the "instruments" used throughout the piece. Drips are configured as fast ascending and descending glissandi. A series of chords is constructed from a sustained movement of glass stamps. The sound of the ping-pong ball - from the left to the right - gradually accelerates. Severe rumbling and sharp joints appears as sudden changes in channels multiply. The introduction of these gestures disrupts the orderly progression of loops and the inclusion of small strips of paper connected to the ribbon which produces rough and jerky sounds further accentuate this breaking effect. Towards the end of the piece, sustained sounds are played out in a chord, but as soon as this effect is installed, the tape slows down and stops, as if someone had unplugged the music player. Then we hear a particularly violent sound of glass breaking.
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Date: 1957
Creator: Le Caine, Hugh, 1914-1977
Partner: UNT Music Library

Etude pour un seul coup de cymbale

Description: Recording of Włodzimierz Kotoński's Etude pour un seul coup de cymbale.
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Date: 1959
Creator: Kotoński, Włodzimierz
Partner: UNT Music Library

Microstructures

Description: Recording of Włodzimierz Kotoński's Microstructures. This piece utilizes sections of fragmented tape to create a montage of sound layers in very dense structures. The composer used the sound of knocking on wood, metal, and glass to form a new sound material and spatialization of sound. These sounds recorded on magnetic tape were cut, melted, and glued randomly into random sequences from which loops of different length were formed and copied onto a layer which finally resulted in this desirable microstructure.
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Date: 1963
Creator: Kotoński, Włodzimierz
Partner: UNT Music Library

Electronic Compositions (1964-1965)

Description: 1. Lemon Drops: commissioned by Magnavox Corp.; Darmstadt, W. Germany, 3.22.67; Pub. Lingua Press 2. For Harry: (dedicated to Harry Partch); Electronic Music Concert, U. Illinois, 3.10.64 3. Fat Millie's Lament: (dedicated to MF); Electronic Music Concert, University of Illinois, 3.10.64 Pub. Lingua Press 4. The Wasting of Lucrecetzia; Electronic Music Concert, University of Illinois, 1.2.65; Pub. Lingua Press 5. Dante's Joynte; incorporated into Lingua I: Poems & Other Theaters (cf. below for separate listing); Pub. Lingua Press
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Date: [1964,1965]
Creator: Gaburo, Kenneth
Partner: UNT Music Library

Combinaisons en cercles

Description: Recording of Octavian Nemescu's Combinaisons en cercles. It is a version at the request of Partita Radicale with a new timbral guise. The work is coceived in three different layers of sound. The surface, representing everyday (diurnal) consciousness, consists of brief and fleeting timbral events almost invariably played forte. A somewhat subdued middle layer provides semiconscious recollections and anticipations of the overall timbral fabric. The deepest layer is made up of complex static sounds, primarily consisting of the vibration of a universal whisper which reveals hidden Nature. This layer of immutable peace, into which all things converge, evokes the nocturnal state of the cosmic unconscious.
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Date: 1965
Creator: Nemescu, Octavian
Partner: UNT Music Library

Chants de Maldoror

Description: Recording of Rainer Riehn's Chants de Maldoror.
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Date: 1966
Creator: Riehn, Rainer
Partner: UNT Music Library

Contrapuntos

Description: Recording of Lucien Goethals' Contrapuntos
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Date: 1966
Creator: Goethals, Lucien
Partner: UNT Music Library

Metacycles

Description: Recording of Ramon Zupko's Metacycles
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Date: 1966
Creator: Zupko, Ramon
Partner: UNT Music Library

Moon over Sandra

Description: This work was made almost exclusively with the voice and Microntage.
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Date: 1966
Creator: Olsson, Justice, 1949-
Partner: UNT Music Library

Nacht

Description: Recording of Luctor Ponse's Nacht
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Date: 1966
Creator: Ponse, Luctor
Partner: UNT Music Library

Plectros II

Description: Commissioned by Chilean pianist Carla Hübner, and premiered by her at the Latin American Music Festival, Bloomington, Indiana, in 1966. In Plectros II the composer extends the idea first explored in his Plectros I - the opposition of two different worlds of sounds. It requires the interpreter to extract "electronic" type of sounds from the piano using both the keyboard and the inside of the piano. No special mallets are required, and the pianist uses fingernails, fingertips or the palm of the hand to obtain harmonics, resonances, and glissandi, or to produce clusters and a variety of different attacks. On the other hand the tape part, produced at the Columbia-Princeton Electronic Music Center in New York, has synthetic sounds - all electronically produced - creating artificial quasi-piano type of sonorities. The goal is to achieve a blending which gives the listener an impression that it is not clear if the sound is coming from the instrument or from the loudspeakers. Plectros II is not a dodecaphonic composition, nor a "prepared piano" one.
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Date: 1966
Creator: Lanza, Alcides
Partner: UNT Music Library

Symphonie

Description: Recording of Boguslaw Schaeffer's Symphonie. "Towards the end of 1964, I began work on a large format electronic work. From the beginning, I called it Symphony, not to obey the spirit of contradiction, which is a way of creating a long time out of use, but being convinced that this name is likely to new applications, there especially where it is a matter of simultaneously resonating a sound matter of very disparate origin, thus proceeding by symphonic means. That was our idea of departure. Yet, already in the course of composition, I suffered the magic of the adopted denomination, so that at the end of a certain time I ended up asking myself to write a work of a structure, a format and a symphonic emotional message. Therefore, the essential problem was not to use the electronic language to express only traditional musical ideas, but rather to proceed by truly electronic means without ever going beyond the framework. Moreover, it was a question of rediscovering auditory laws, of developing new means of expression from an electronic mode of thinking and proceeding. Both in its original conception and in its accomplishment, of which a considerable share of merit belongs to Mr. Bohdan Mazurek, sound engineer of a remarkable creative experience. Symphony with four parts, present, in accordance with the composer's idea, structural arrangements, techniques, methods of transposition, time reports and aesthetic and auditory principles that vary from one part to the other. The studio work was based on a score that did not have to account for sound situations, but which had to be a bridge between the composer and the director/sound engineer whose work could not, in this case, be measured in simple terms of realization; indeed, it was something more than a creative achievement. The diagram of Symphony was ...
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Date: 1966
Creator: Schaeffer, Boguslaw
Partner: UNT Music Library

Bozzetti

Description: Recording of Bohdan Mazurek's Bozzetti.
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Date: 1967
Creator: Mazurek, Bohdan
Partner: UNT Music Library

Chant dans la Nuit

Description: Discover for me this fabulous world of electro-acoustics; this world that allows us to accurately retain the slightest gesture, to multiply the sound sources to infinity, to put things and distant sounds side by side and thus to create magical worlds of unheard-of expressiveness. Rainer Boesch
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Date: 1967
Creator: Boesch, Rainer, 1938-
Partner: UNT Music Library

Chef d’œuvre

Description: Recording of Jon Appleton's Chef-d’œuvre.
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Date: 1967
Creator: Appleton, Jon
Partner: UNT Music Library

Terminus II

Description: Recording of Gottfried Michael Koenig's Terminus II
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Date: 1967
Creator: Koenig, Gottfried Michael
Partner: UNT Music Library