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Strata

Description: The original monophonic version of my Aeolian harp was built in 1972 and in 1980 temporarily another stereophonic version was added. The name of the instrument has its origins in the sonic qualities of the traditional instrument, but my version does not use strings and it vibrates thanks to the human breath and not thanks to the wind. It was only in 1985/1986 that I finally built a completely new quadraphonic form of the instrument that I first played in short collective improvisations before exhibiting it for three months at the 1986 Crafts Council exhibition. Composition develops some elements and new techniques that I tried first in my piece sole "multimorphosis" written this year.
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Date: 1987
Creator: Davies, Hugh, 1943-2005
Partner: UNT Music Library

The Dualism

Description: This composition is the second part of tetralogy "Leters" which was composed in the honor of St. Ciril and Method, a founders of Slavs alphabet. The tetralogy is based on works of prominent figures in late racy from the nine century up to date and his point of view on different problems of human existence. Trough poetry and letters of the most outstanding figure in Yugoslav literature of 19th century P.P. NJEGOS, bishop, governor, Worior and poet, "The Dualism" treats relations of human being and outer world. The composition has three sections. The first one, which is built on parts of Njegos philosophical poem Ç The Light of Microcosmos È, speaks about attempt of ordinary man to explain eternal ideas, haven and God himself and impossibility of achieving that. The second one which uses Nj egos Letters to Turks, for a long time enemies, speaks about readiness of human to fight for freedom and will to set a piece in the name of saving hit only own but also lives of enemies. Final section which has also versus from the same poem brings conclusion, about necessity of way living together of all things and opposites in the world in the favour of universal harmony. "Yes, spark gave birth to the Light Ocean was made of drops and the glory of the Lord is great within mortal and immortal. Electronic has been treated as integrated part of performing ensemble/flute, trumpet, cello, piano, percussion, actor and female choir/and has primarily function of extension of choir sound and "connection between earth and haven".
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Date: 1985
Creator: Zarko, Mirkovic, 1952-
Partner: UNT Music Library

The silent god

Description: Recording of Mauro Graziani's The silent god. It is a sound processing work, no synthesized sounds are involved. The beginning sound materials are sounds often used in religious rites and ceremonies, hence the title. Sound material includes: Japanese gongs, Tibetan and Chinese bells, Tibetan trumpets, gamelan, Indian and Middle-eastern harp, western organ, aeolian harp, voices. Processing includes filtering, time and/or pitch changing, delays, freezing, cutting, and mixing. The work was realized at the Centro di Sonologia Computazionale" (University of Padova) in 1980, using the IBM 4381 mainframe and the MUSIC360 software for digital sound synthesis.
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Date: 1980
Creator: Graziani, Mauro, 1954-
Partner: UNT Music Library

Echo

Description: Recording of Ross Harris's Echo performed by Mary Robbie, trumpet. The work is for solo trumpet and tape delay, which has the effect of producing "canonic echoes" of the solo voice. In concert performance, the two channels of delayed sound are to be placed outside the performance area, there by expanding the space, and the performer's sound appears to move out from the player and away into the distance. The piece was written for Mary Robbie, who performs it in this recording.
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Date: 1979
Creator: Harris, Ross, 1945-
Partner: UNT Music Library

11 september

Description: Recording of Carl Bergstrøm-Nielsen's "11 september." The text is from a document called "What is MIR?" which was sent out illegally in Chile in 1974 and from the appeal of MIR two years after the taking over by the junta, on September 11, 1975. A left-wing party, MIR stayed in Chile in order to contribute as efficiently as possible to the building of the opposition. Other sound material also includes sounds from a typewriter and a demonstration at Bastad, Sweden in September 1975 at a tennis match between Sweden and Chile with more than 4,000 participants. The text is taken in small excerpts from the document in Spanish, English, Swedish, Danish, French, Dutch, and Icelandic. The piece consists of three sections overlapping each other gradually, which shows the relationship between the spoken words and the immediate danger connected with that text. The first section "as a spontaneous statement," deals with the document at its direct background: the silence is broken, in spite of the danger connected with the writing, manifolding papers that criticize the politics and methods of the junta and discuss the strategy of the opposition. The second section deals with the document as a medium of discussion. At the end of this section, the "media-environment," "almost as a magazine on foreign affairs," is broken by shouts from the demonstration at the Bastad which were heard directly in Chilean TV. The third section is about the appeal of MIR as a direct request to the audience: to isolate the junta through a boycott of Chilean products and through demanding from national politicians to break the silence which has long been maintained, among other places in the United Nations of which Chile is still a member. Inspiration for the piece came from the composer's participation in the activities of the ...
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Date: 1977
Creator: Bergstrøm-Nielsen, Carl
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

Lunar Dusk

Description: Recording of Maggi Payne's Lunar dusk. Performance is with four speakers accompanied by abstract slides. Composed at the Center for Contemporary Music at Mills College.
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Date: 1979
Creator: Payne, Maggi
Partner: UNT Music Library

Wave Edge

Description: Recordings of Barry Truax's Wave Edge for four computer-synthesized soundtracks. Part of a set that includes the piece "Solar Ellipse" (1984-85), focusing of spatial trajectory and related images. Wave Edge was inspired by the I Ching hexagram number 4, Youthful Folly, comprised of the trigrams for water and mountain, which portrays a spring bubbling up at the foot of a mountain.
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Date: 1983
Creator: Truax, Barry
Partner: UNT Music Library

A Walk through the City

Description: Recording of Hildegard Westerkamp's A Walk through the City performed by Norbert Ruebsaat, speaker. The piece is for two electroacoustic sound tracks. The poetry was written by Norbert Ruebsaat. the piece is an urban environmental composition based on Ruebsaat's poem. It takes the listener into a specific urban location - Vancouver B.C.'s Skid Row area - with its sounds and languages. Traffic, carhorns, breaks, sirens, aircraft, construction, pinball machines, the throb of trains, human voices, and poetry are its "musical instruments." These sounds are used partly as they occur in reality and partly as sound objects altered in the studio. A continuous flux is created between the real and imaginary soundscapes, between recognizable and transformed places, between reality and composition. The poem is spoken by the author and appears throughout the piece, symbolizing the human presence in the urban soundscape. Its voice interacts with, comments on, dramatizes, struggles with the sounds and other voices it encounters in the piece. "A Walk Through the City" was composed at the Sonic Research Studio at Simon Fraser University and, in its final stage, at the CBC studios in Vancouver, with the technical assistance of Gary Heald. Many of the sounds were taken from the World Soundscape Project's environmental tape collection at Simon Fraser University in Vancouver, including two of the street oldtimers, recorded by Howard Broomfield. Some were recorded by Westerkamp herself. The piece was commissioned by and first broadcast on CBC Radio's "Two New Hours."
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Date: 1981
Creator: Westerkamp, Hildegard, 1946-
Partner: UNT Music Library

The waste land

Description: Recording of Elżbieta Sikora's The waste land, for fixed media. The piece is a journey through time and spaces. The present is mixed with the past, the ordinary with the extraordinary, dream with reality. The work was commissioned by the Experimental Studio of Polish Radio and was realized in October 1979. The text comes from T. Elliot's poem "The Waste Land."
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Date: 1979
Creator: Sikora, Elżbieta, 1943-
Partner: UNT Music Library

Tramos

Description: Recording of Eduardo Bértola's Tramos for tape. The piece was made from two sound sources: radio broadcasts and direct recordings of popular events. These materials were structured by simple juxtaposition excluding the mixes and any kind of development of the original sound. It is therefor a purely horizontal structure in which we note the union of fragments of hard edge, perfectly delimited, similar to that used in some works of North American Pop Art. In this way, Bértola expresses his own point of view on the cultural significance and the non-significance of radio mass media in the countries of Latin America.
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Date: 1975
Creator: Bértola, Eduardo, 1939-1996
Partner: UNT Music Library

Musinelle

Description: Recording of Jozef Rychlik's Musinelle. Material of the piece was extracted from the jazz piece (looped) and processed through the following devices: 8 Octave Filter Bank, Random Voltage Generator, and Pitch-to-Voltage Converter. The new material was completed with the electronic sounds from Synthi AKS. Particular sound and rhythmical structures were edited and sequenced through the preciously composed narration with wide rhythmical and space expression. Editing was made with scissors and special splice tape.
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Date: 1975
Creator: Rychlik, Józef, 1946-
Partner: UNT Music Library

Ta Foneenta

Description: Recording of Iván Patachich's Ta Foneenta. The base of the work forms a mathematical series. The sound material of the work consists of vowels, synthetic sounds, and Morgenstern's poem "The Great Lalula." The construction of the work is two-channel and panoramic and constructed spatial movement are also often used. Sound units present in the molded parts are microstructures. The work has a so-called bridge shape, so the eleventh molding is a variation and mirror image of the first part, the tenth molding varies the second, and so forth. The sixth molding is the highlight of the work.
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Date: 1975/1976
Creator: Patachich, Iván
Partner: UNT Music Library

The medium is the matter

Description: Recording of Hans Poort's "The medium is the matter." The music is made of repeated results of electronic sound circuits, presented as dynamic musical processes. By teaching on tape, the material aspect of the "here and now" of poetry, both music and words are emphasized. Poort attempted to keep the time and space of the present sound - poetry and music - by leaving both of them autonomous.
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Date: 1979/1980
Creator: Poort, Hans
Partner: UNT Music Library

Refraction

Description: Recording of Kim Dyett's Refraction for tape. The piece is composed from words that are twisted and transformed moving from meaning to sound images.. The work was inspired from poems by E. E. Cummings.
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Date: 1980
Creator: Dyett, Kim, 1956-
Partner: UNT Music Library

Laus stultitiae

Description: Recording of Zoltán Pongrácz's "Laus stultitiae" ("Praise of folly") for baritone and tape.
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Date: 1980
Creator: Pongrácz, Zoltán
Partner: UNT Music Library

Impossible a la x

Description: Recording of Joaquin Orellana Mejia's "Impossible a la x" ("Impossible to the X"). The piece raises the sonorous vision of a spiritual and violent situation, in which the primitive flows and their purity as a mimetic being and the "being children: are involved in clearly antithetical situations.
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Date: 1980
Creator: Orellana, Joaquín, 1937-
Partner: UNT Music Library

Memento

Description: Recording of Ryszard Klisowski's Memento for tape.
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Date: 1975
Creator: Klisowski, Ryszard
Partner: UNT Music Library

Rosaces 4

Description: Recording of Jonty Harrison's Rosaces 4 for four amplified voices, stereo fixed medium and four-channel tape. For the tourist, Notre Dame de Chartres may be just one more 'sight' amongst the gothic cathedrals of northern France, only notable perhaps for having more of its original medieval glass than most of the others. But why are the three rosaces (rose windows) at the Chartres considered by experts to be amongst the hour greatest ever produced? Why is the building 46°54' off the normal west-east orientation for a medieval church? Why are there no sculptures and no graves within the building? And how was a relatively small community able to erect, in only twenty-six years and with no interruptions, a cathedral with the widest known gothic vault, when work on cathedrals in wealthier cities was interrupted for lack of funds? Could it be that the outward beauty and perfection of the building are the result of something else, something hidden.....? Rosaces 4 was commissioned by Elms Concerts with funds made available by the Arts Council of Great Britain. The stereo and four-channel tapes were made in the Electro-acoustic Music Studio, University of Birmingham.
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Date: 1982
Creator: Harrison, Jonty, 1952-
Partner: UNT Music Library

Spasme

Description: Recording of Jan Oleszkowicz's Spasme for tape.
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Date: 1981
Creator: Oleszkowicz, Jan
Partner: UNT Music Library

An even game

Description: Recording of Jarmo Sermilä's An even game. Most people consider sports to be the antithesis of art. Sermilä argues that this is not always the case since the world of sports offers many pairs of opposites which appear in all areas of life, including art: for example, team-work vs. individualism, violence vs. sportsmanship, spontaneity vs. organization, etc. "An Even Game" is an imaginary team sport in which these characteristics are brought out - reduced, however, to musical terms. Two teams clash to the frantic reaction of the fans. Since this is an international match, national anthems are also included. In keeping with the artificial democracy of today's world, the match ends in a draw - an even game - and this may explain the program's tedious repetition of itself. Sermilä uses men's choruses for the two teams, a women's chorus for rhythmical cheering, percussion instruments and general acoustic material from ice hockey and tennis matches. Two Finnish provincial anthems have been used in place of national anthems.
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Date: unknown
Creator: Sermilä, Jarmo, 1939-
Partner: UNT Music Library

Imagones d'une histoire en redondo (imposible a la equis)

Description: Recording of Joaquín Orellana's "Imagones d'une histoire en redondo (imposible a la equis)" for tape.
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Date: 1980
Creator: Orellana, Joaquín, 1937-
Partner: UNT Music Library

Play bach

Description: Recording of Mayako Kubo's Play bach for eight channel tape. Play Bach is mainly based on two elements: first, there is no fixed form and no fixed duration because the composition consists in a mobile-system; second, the sound material uses only the tones B (Si-flat), A (La), C (Do), and H (Si) in different octaves performed by three instruments and with the letters B, A, C, and H spoken with human voice. Because the eight tracks are combined using a mobile system, each performance presents different combinations and thus a different performance each time.
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Date: 1980/1981
Creator: Kubo, Mayako
Partner: UNT Music Library

Susurros

Description: Recording of Emilio Mendoza's Susurros. The title refers to the gray character of the piece, the feeling of death, and its calm acceptance of that death. The piece is based on the physical spactial movement of sounds and the changes of timbre and intensity of four basic sound that are produced in the oral cavity of the four musicians. Work was done at the Robert Schumann Institute in Dusseldorf. The electroacoustic version of this piece was made from February 1978 to March 1980.
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Date: 1978/1980
Creator: Mendoza, Emilio
Partner: UNT Music Library