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3 elektronische Studien

Description: Recording of Lothar Voigtländer's 3 elektronische Studien. The basis for the composition are the poems of the poet Erich Arendt. The poems were written around 1925 in his Expressionist creative period. Accordingly, the compositional means: concrete musical material is mixed with electronic sounds to achieve a strongly expressive and suggestive associative effect. It is less thought of as a "setting" of the texts, but should be added to the often strongly symbolic language formulations as a different, musical dimension. The vocals and the piano usually work live. The piano is mostly treated as unrecognizable - this is to achieve a seamless insertion into the electro-acoustic sound material. In a performance, both piano and singer can be electro-acoustically amplified and to a lesser extent technically manipulated (reverberation, iteration, etc).
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Date: 1975
Creator: Voigtländer, Lothar, 1943-
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
Creator: De Smet, Raoul
Partner: UNT Music Library

Ambience

Description: Recording of Richard Orton's Ambience. Ambience for solo bass trombone and tape was written for the American Trombonist James Fulkerson and first performed by him in the Wigmore Hall, London, on 17 May 1975. He has since included the work in many recitals during his tours in Scandinavia, Canada and the USA. The title "Ambience" here refers to the imaginative sonic environment surrounding the sounds of the trombone, including the most "artificial," synthesized sounds, instrumental ensembles which incorporate the trombone, and environmental recordings including public sounds we will recognize and share. Within this sonic environment the trombone at times asserts itself, at times merges most imperceptibly, and eventually complements it and achieves a harmonic and dynamic balance.
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Date: 1975
Creator: Orton, Richard, 1940-2013
Partner: UNT Music Library

Atelje II (Atelier II)

Description: Recording of Lojze Lebič's Atelje II (Atelier II) for tape. The piece was composed in collaboration with Paul Pignon in the Radio Belgrade Electronic Studio in September 1975. It is made up of five sections, in which certain electroacoustic "instrumental" ideas are transformed through characteristic compositional procedures. The title has a twofold meaning: on one hand, it reveals the aims of the composer's research, considering that this was Lebič's first encounter with the electronic medium, and on the other, his expectations that the composition would be performed in the Concert Atelier cycle of the Society of Slovene composers. Atelier II was later expanded into Atelier III for magnetic tape and live violoncello performance.
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Date: 1975
Creator: Lebič, Lojze
Partner: UNT Music Library

Barisphère

Description: Recording of Zoltan Pongrácz's Barisphère. The work Barisphère is the central part of a cosmic series in three parts: Luna IX, Barisphère and The Big Bang. Its title refers to the central core of the earth, consisting of molten iron and nickel, with a diameter of about 30km. The composer's intention was to create, using electroacoustic means, a program music that excites the cosmic imagination of the listener. The sound material is made up of both synthetic and natural sounds rigorously structured by certain mathematical operations. Both rhythmically and formally, the proportions of the work are borrowed from the various measures of the earth. The treatments used are: transpositions, filtering, ring modulations, phase shifts, envelope transformations, feedback, reverberations, etc.
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Date: 1975
Creator: Pongrácz, Zoltán
Partner: UNT Music Library

Brazen

Description: Recording of Emmanuel Ghent's Brazen.
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Date: 1975
Creator: Ghent, Emmanuel
Partner: UNT Music Library

Cadenza

Description: Recording of Ryszard Klisowski's Cadenza
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Date: 1975
Creator: Klisowski, Ryszard
Partner: UNT Music Library

Canti per checca

Description: Recording of Teresa Rampazzi's Canti per checca.
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Date: 1975
Creator: Rampazzi, Teresa
Partner: UNT Music Library

Cantica feralia

Description: Recording of Ivan Parík's Cantica feralia. The basic material is an orchestral work of the composer. The material was re-worked with electronic manipulations; originally the work was quadraphonic. Dedicated to the victims of the concentration camps of the Second World War.
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Date: 1975
Creator: Parík, Ivan, 1936-2005
Partner: UNT Music Library

Champs

Description: Recording of Georges Boeuf's Champs.
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Date: 1975
Creator: Boeuf, Georges
Partner: UNT Music Library

Constellation

Description: Recording of Satoshi Sumitani's Constellation. This composition is a process of pursuit to sonority in limited materials possibility of transformation and combination. In addition to all instruments used were a Graphic Equalizer, a Eariable Speed Tape Recorder, and a Microphon setting.
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Date: 1975
Creator: Sumitani, Satoshi
Partner: UNT Music Library

Construction

Description: Recording of Curtis Roads's Construction. This piece consists of continuous sound spectra. It was composed intuitively by ear. Its process of forming is characterized by an interplay among sections of historical development (continuous transformation), sequences of event (discrete spectral "harmonies"), and disjoint non-sequiturs (contrasting modes of musical behavior). "Construction" is a model, an alternative vision to the dominant mode of structuring. The technical devices used to make the work were: Moog III Synthesizer, Bode Ring Modulator, Bode Frequency Shifter, Ampex 4/2 Mixer, JBL Monitors, Quad/Eight Mixing Console, ITI Parametric Equalizer, Pultec Equalizer, Acoustic Echo Chamber, Altec Monitors.
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Date: 1975/1976
Creator: Roads, Curtis
Partner: UNT Music Library

...Despues el silencio...

Description: Recording of Hilda Dianda's "...Despues el silencio..." ("...After the silence..."). The piece is complex in its apparent simplicity. The slow evolution of the piece, with its predominantly dark and static sounds from which material of greater brightness and mobility emerge occasionally. Silence also plays an important role in the composition. It was realized at the SISMAT Laboratory.
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Date: 1975
Creator: Dianda, Hilda, 1925-
Partner: UNT Music Library

Deux études

Description: Recording of Knut Wiggen's Deux études
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Date: 1975
Creator: Wiggen, Knut
Partner: UNT Music Library

Drama

Description: Recording of Rainer Boesch's Drama
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Date: 1975
Creator: Boesch, Rainer
Partner: UNT Music Library

Effetti Collaterali (for clarinet in A and computer generated electronic sounds)

Description: The specified pitches are made to generate their own accompanying frequencies, generally inharmonic with respect to the pitches themselves, as a result of FM or AM procedures. Each interval, or, in fact, each pitch-pair (or if you don't want to limit yourself to the chromatic scale, each pair of arbitrarily decided upon frequencies) can generate several possible spectra, but the similarity in sound quality between kinds of spectra quickly reduces to a limited number of readily manageable families of chord-types. These chords are the basis for a variety of musically interesting relationships, and this work represents but one of many possible developments of these kinds of sounds. The clarinetist in this recording is Philip Rehfeldt.
Date: 1975
Creator: Dashow, James
Partner: UNT Music Library

Ekstasis

Description: Recording of Peter Tod Lewis's Ekstasis
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Date: 1975
Creator: Lewis, Peter Tod
Partner: UNT Music Library

Empty Mirror

Description: Recording of Neil B. Rolnick's Empty Mirror. This piece uses as sound sources the music of peoples distinctly apart from the tradition of Western Classical music. The composer makes use of the complex interplay of harmonic and rhythmic motion and tries to shape the sounds from diverse and trans-cultural nature of the original material.
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Date: 1975
Creator: Rolnick, Neil B.
Partner: UNT Music Library

Eroptycha II

Description: Recording of Vassilis Risiotis's Eroptycha II
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Date: 1975
Creator: Risiotis, Vassilis
Partner: UNT Music Library

For Alrun I et II

Description: Recording of Iván Székely's For Alrun I et II. The work entitled "For Alrun" was composed in 1975 in Bayreuth during a live electronics course. The singing part of the play of about 7 minutes, a form and a light local broadcast, contains the popular song tchango beginning with the words "Gyere ki te gyšngyvirag" / come, leave my beautiful, my lily of the valley / - this one will have to be changed to all the presentations in Hungarian. This task was undertaken at the world premiere by Alrun Zahoransky - hence the title of the work. The player applying the electronics, especially from the point of view of the instrumentation, produces sounds and manipulates the electronic sounds and the human voice. The piece does not require studio work, each tone or voice sounds in vivo (i.e. each presentation, each show is new). The focus is on the psychic process of the piece and not on the technical process; its different degrees of difficulty adapt to the possibilities of the presentation. The singer is Ágnes Zsigmondi. The translation of the song is: Come, leave my beautiful, my lily of the valley, Because the moon is mounted, alas. I will leave at dawn, wearing a high hat, alas.
Date: 1975
Creator: Székely, Iván
Partner: UNT Music Library

For Dance

Description: Recording of William Buxton's For Dance
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Date: 1975
Creator: Buxton, William
Partner: UNT Music Library

Funzione acustico

Description: Recording of Iván Patachich's Funzione acustico
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Date: 1975
Creator: Patachich, Iván
Partner: UNT Music Library

Haauqui

Description: Recording of Graciela Paraskevaídis's Haauqui (pronounced Wauki or Ouaouki) for two-track tape. The title is a Qechua word referring to a small statue carried by the Incas that resembles their own image, a meaning extended to brotherhood, community, and friendship. The sound events, created from both microphonic and electronic sources, aim at a non-discursive, non-anecdotic function based on a self-imposed simplicity and on the presence of structural silence. It was realized at Elac, pequeno estudio de Montevideo, in 1975.
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Date: 1975
Creator: Paraskevaídis, Graciela, 1940-
Partner: UNT Music Library

In Celebration

Description: Recording of Charles Dodge's In Celebration. "In Celebration" was composed during the first part of 1975. The composition tends to capture the spirit and structure of Mark Strand's poem and to give it a coherent sense musically. The poem has a two-part structure separated by the reappearance of the verse "You sit in a chair.” The two parts of the poem can be distinguished from each other by the different degrees of passivity attributed to the "You,” the person to whom the poem is addressed.
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Date: 1975
Creator: Dodge, Charles
Partner: UNT Music Library