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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
Duration: 15 minutes 16 seconds
Creator: Xanthoudakēs, Charēs
Partner: UNT Music Library

2 pièces + 2 exemples

Description: Recording of John Chowning's 2 pièces + 2 exemples.
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Date: unknown
Duration: 27 minutes 27 seconds
Creator: Chowning, John M.
Partner: UNT Music Library

3 for 5

Description: Recording of Richard Zvonar's 3 for 5 for percussion, performed by Daryl Pratt. The piece is divided into three movements, with a different set of instruments for each. These are set up in three locations, which form an arc left to right across the performance area. Four playback speakers are situated beside and between the three playing locations. The tape sounds are entirely derived from recorded sounds of the percussion instruments. Throughout the piece, the live and recorded sounds continuously diverge as the piece progresses until at the end, the original sounds have been greatly expanded and enriched through speed transposition, mixing, filtering, etc.
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Date: 1979
Duration: 23 minutes 27 seconds
Creator: Zvonar, Richard
Partner: UNT Music Library

4 Piezas Instrumentales

Description: For being the round world, who walks away in the East looking for new landscapes, after many trips and adventures he will return to the starting point from the West ... perhaps without wanting to or looking for it. By listening to these 4 instrumental pieces, you will think that they consist of an interpretation made for traditional music instruments. However, for me, the composer is nothing but a new experience in the field of technological music. In this case the experimentation consists of a program that improvises, plays, exchanges in many different ways an initial succession of tones giving rise to very different sound tissues. It is an experiment of the same complexity and quality as others that I have used in the past and that have given me totally different sound results. In this case the experimentation uses shades of defined and adjustable height, creating clear intervalic, acordic, polyphonic organizations, etc. In this domain, a similarity with instrumental music is inevitably obtained. I did not want to avoid this reality using bands of noise or continuous changes of harmonicity, but, on the contrary, I highlight the winter using homogeneous sounds that parody some known acoustic instrument. The four instruments chosen are: Trumpet, Marimba, Voice and Guitar. These instruments are presets of the Yamaha DX7II with all its advantages and disadvantages. I chose a solo arrangement for each extremely sharp instrument in terms of interval discourse and thus obtain a better appreciation of the different games, canons, permutations, dynamic levels, ornamentations, etc., which developed the program. Each in semitones. The scores corresponding to the pieces of Trumpet, Marimba and Guitar are recorded on diskettes, constituting "tapeless music", bone music that can be played directly by operating the computer to the digital synthesizer. The vocal piece has been made in …
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Date: 1989
Duration: 17 minutes 56 seconds
Creator: Asuar, José Vicente, 1933-
Partner: UNT Music Library

4 Poèmes

Description: Recording of Eugeniusz Rudnik's 4 Poèmes made in a technique for a recording studio of hand-held electronic music. The sound material is based on electronic effects, rustling, instrumental and vocal sounds. Each part is integral, allowing them to present in the order of choice.
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Date: 1976
Duration: 24 minutes 15 seconds
Creator: Rudnik, Eugeniusz
Partner: UNT Music Library

6 electronic preludes

Description: Recording of Bohdan Mazurek's 6 electronic preludes for tape.
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Date: 1981
Duration: 15 minutes 04 seconds
Creator: Mazurek, Bohdan
Partner: UNT Music Library

8 Deustche Tänze

Description: Recording of Peter Wessing's 8 Deutsche Tanze.
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Date: 1981/1982
Duration: 3 hours 30 minutes 48 seconds
Creator: Wessing, Peter
Partner: UNT Music Library

E 15

Description: Recording of Peter Kolman's E 15.
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Date: 1974
Duration: 12 minutes
Creator: Kolman, Peter
Partner: UNT Music Library

17 Juni 1944

Description: Recording of Thorsteinn Hauksson's 17 Juni 1944.
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Date: 1976
Duration: 50 minutes 48 seconds
Creator: Þorsteinn Hauksson, 1949-
Partner: UNT Music Library

96

Description: Recording of Sten Hanson's 96. "According to Amnesty International, there are 96 countries in the world that have political prisoners. In most of these countries, there is clearly physical or mental torture that is punishable by law and unlawful killings." Sound material includes sounds of doors shutting, locks locking, bells, ringing, etc.
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Date: 1980
Duration: 11 minutes 38 seconds
Creator: Hanson, Sten, 1936-2013
Partner: UNT Music Library

124 E 170th St

Description: Recording William Ortiz's 124 E 170th St. (for electronic tape, narrator, and percussion). It is a mixed electroacoustic work depicting the Puerto Rican urban experiences the United States: the struggle against the agony of the ghetto and against the imposition of a crushing colonial state of mind. The piece is a summons to awake from the broken English dream and assume the Puerto Rican and Latin American essence that belongs to us. The text was written by two Puerto Rican poets living in New York City: Pedro Pietri and Sandra Esteves. The music largely makes use of Afro-Caribbean rhythms, and involves theatrics.
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Date: 1980
Duration: 51 minutes 15 seconds
Creator: Ortiz, William
Partner: UNT Music Library

950 for Bob

Description: Recording of Terry Setter's 950 for Bob. He describes this style of composition as "focusless music," which is structured in such a way that the listener always hears an undifferentiated sound continuum, making the smallest changes noticeable. The title refers to the length of the piece (950 seconds) and to Robert Ericksson, to whom the piece is dedicated.
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Date: 1980
Duration: 15 minutes 53 seconds
Creator: Setter, Terry
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
Duration: 9 minutes 36 seconds
Creator: Patachich, Iván
Partner: UNT Music Library

2015 American Liszt Society Festival Recital: 2015-09-17 - Boyd, Dossin, Harlos, Paul, Romero, and Wodnicki

Description: American Liszt Society Festival Recital presented at UNT College of Music Voertman Hall.
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Date: September 17, 2015
Duration: 56 minutes 40 seconds
Creator: Boyd, Michael; Dossin, Alexandre; Wodnicki, Adam; Romero, Gustavo; Paul, Pamela Mia & Harlos, Steven, 1953-
Partner: UNT Music Library

Abracadabra

Description: Recording of Edmund Cionek's Abracadabra.
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Date: 1976
Duration: 3 minutes 30 seconds
Creator: Cionek, Edmund
Partner: UNT Music Library

The Acoustic Painter

Description: Like colours, the sounds are composed using a keybord like brush and time like canvas. The work has two parts: first the painter freely paints an abstract subject and second he compose a defined subject. This work was originally composed for voices, bassoon and tape but this is the unique realization. The sounds were generated using additive, frequency modulation, ring modulation synthesis and sampling.
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Date: 1988
Duration: 7 minutes 37 seconds
Creator: Pedrazzi, Marco, 1959-
Partner: UNT Music Library

Across the Evening Sky

Description: "Across the Evening Sky" consists of sustained, slowly changing sonorities and pedal figures which gradually evolve across a variety of registers, densities and intensities. Formal cohesion is achieved via a process akin to isorhythm, wherein large-scale repetitions occur at varying rates, thus resulting in ever-changing juxtapositions of material. The composition was realized at the computer music studio of Northwestern University in the winter and spring of 1987, and received its premiere at Dartmouth College in October of that year.
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Date: 1987
Duration: 7 minutes 10 seconds
Creator: Mickel, John E., 1961-
Partner: UNT Music Library

Act of Opening

Description: "Act of Openings" is a stereo composition made with Moog analog synthesis modules. Composed in 1968, its duration is 17'27. The score of the composition is a dense and modulated sound characterized by carefully controlled phase relationships. All the rhythmic and harmonic elements of the piece derive energy from a long, brilliant sound. Each part of the room is another glimpse of this sound, as a set of flowers form a bouquet. "Act of Openings" received the 2nd Prize at the 1969 Dartmouth International Electronic Music Competition.
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Date: 1969
Duration: 17 minutes 28 seconds
Creator: Weiss, Jonathan, 1949-
Partner: UNT Music Library

Acuerdor por Differencia

Description: Picture yourself travelling at ease on the train. As you look through the window, you notice the power cables, which run parallel to the tracks. As your eyes follow them, they seem to turn giving the impression of a volume that gently and continuously rotates as it changes shape. This flow seems to accelerate before being momentaneously interrupted by the posts that hold them at more or less regular distances; this is immediately followed by the previous soft change as you recapture the perspective of the hanging cables. Of course, you easily deduct how the illusion works and soon are off onto something else more productive. But imagine you were in a position to determine a few things beforehand, says the distance between posts. Or, if you are of the impulsive "hands on" type, imagine you were able to change the speed of the train instantaneously at your will. You would then be able to effect changes in the evolving pattern of the cables and on the rate of the change itself, thus giving the whole illusion a direction and a life of its own right in front of your eyes. In Acuerdos por Diferencia I have attempted to draw a musical parallel with a similar sort of speculation. So many of the gestures and rhythmic objects in the music commence or finish on a point of accord (Acuerdo), from which their flow continues or emerges. A great deal of variation, differentiation, juxtaposition and superimposition (Diferencia) between computer and harp takes place between those points, their appearances being also subjected to quick "edits" and variations in speed. Thus my title can be freely translated as "accords within difference". I have used mostly harp, lute and vihuela sounds for the computer part, which was realised and recorded at the studios of …
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Date: 1989
Duration: 22 minutes 37 seconds
Creator: Alvarez, Javier, 1956-
Partner: UNT Music Library

Acufenos V

Description: Recording of Alcides Lanza's Acufenos V, for trumpet, piano and electronic sounds. Written in 1980 for the trumpet player Robert Gibson, who did the premiere performance at Pollack Hall, Montreal, with the pianist with Alcides Lanza at the piano. The tape part of Acufenos V was made from sounds of recorded trumpet, with a diversity of mutes and styles of playing, and electronic imitations of the same sounds. Acufenos is a Spanish medical term meaning "tinnitus" (tinnitus: from the Latin ringing, French tinnitus or acuphene. It is the past participle of "tinnire", to ring: a sensation of noise (as a ringing or roaring) that is purely subjective. With the carapace of a porcupine type of animal. The tape part was realized at the electronic music studio, McGill University, Montreal, and finalized at the private studio of the composer (Shelan Studios).
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Date: 1980
Duration: 21 minutes 45 seconds
Creator: Lanza, Alcides
Partner: UNT Music Library

Adagio

Description: Recording of Raoul de Smet's Adagio. For this work the composer had proposed harmony and relaxation "before anything else.” From there, a slow and steady tempo and very simple form. The sound material is provided by twelve ordinary sound generators. The work begins with a chord in the treble, slowly emerging from the silence or void sound and sustained by a regular pulsation in the bass, the result of differential sounds. Then several new sounds are added while others change timbre, octave, or dynamics causing different sounds of other types. During a slow rise in crescendo, short glissandi roam and decorate the sound space until the climax is reached. A sound column, containing twelve frequencies, comes to rest for about a minute, allowing the ear to move in the audience and thus capture the sound shimmer. This passage is the opposite of the sound of nothingness and could thus appear as a sound universe where one could also lose the notion of time. A brutal blow breaks this sound column like a spring too long stretched. This universe collapses slowly to retreat into the depths of the sound nothingness from which it came. The work was realized on an analogue support at the IPEM in Ghent in 1975.
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Date: 1975
Duration: 9 minutes 42 seconds
Creator: De Smet, Raoul
Partner: UNT Music Library

Adagio

Description: Adagio is, as the title suggests, cast very much in the tradition of the late-Romantic symphonic slow movement, with its carefully measured pacing combined with a dramatic use of weight and drive. In particular, Adagio has a special relationship with the slow movements of Mahler's symphonies, this relationship being present at different levels and to different degrees at various points in the piece, ranging from the use of generally expressive gestures to explicit 'quotations' (particularly from the Andante of the Sixth Symphony). Perhaps the most easily perceived Mahlerian trait in Adagio is the use of randomly struck cowbells which permeate the Sixth and Seventh Symphonies. Adagio was composed in the summer of 1985 in the Electroacoustic Music Studios of the University of Birmingham. It won the EMAS/PRS prize in 1986.
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Date: 1985
Duration: 15 minutes 26 seconds
Creator: Lewis, Andrew, 1963-
Partner: UNT Music Library

Adatontrum

Description: Recording of Betin Günes' Adatontrum.
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Date: unknown
Duration: 33 minutes 16 seconds
Creator: Günes, Betin, 1957-
Partner: UNT Music Library

Adieu, métamorphose d'une fugue de J.S. Bach

Description: Recording of Miro Bázlik's Adieu, métamorphose d'une fugue de J.S. Bach.
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Date: unknown
Duration: 6 minutes 10 seconds
Creator: Bázlik, Miro
Partner: UNT Music Library
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