67 Matching Results

Search Results

Drama

Description: Recording of Rainer Boesch's Drama
Access: This item is restricted to UNT Community Members. Login required if off-campus.
Date: 1975
Creator: Boesch, Rainer
Partner: UNT Music Library

Simple Electronic Symphony

Description: Recording of Miroslav Bázlik's Simple Electronic Symphony. This piece is arranged into four rather independent parts: Sonata, Cantus firmus, Madrigal and Ciaccona, designations of which reveal the author's effort to make the cyclic form of a symphony. The polarity of traditional and unconventional can be found also in the use of vocal or pre-composed material in a variety of transformations by studio means so that the cycle loses neither homogeneity nor tension.
Access: This item is restricted to UNT Community Members. Login required if off-campus.
Date: 1975
Creator: Bázlik, Miroslav
Partner: UNT Music Library

Eroptycha II

Description: Recording of Vassilis Risiotis's Eroptycha II
Access: This item is restricted to UNT Community Members. Login required if off-campus.
Date: 1975
Creator: Risiotis, Vassilis
Partner: UNT Music Library

For Dance

Description: Recording of William Buxton's For Dance
Access: This item is restricted to UNT Community Members. Login required if off-campus.
Date: 1975
Creator: Buxton, William
Partner: UNT Music Library

Nokturn

Description: Recording of Eugeniusz Rudnik's Nokturn. Nokturn was made according to a conventional method, by typical means for a classical electronic music studio. The basic materials come from different sources and are so deeply transformed that it is difficult to recognize their origins. There is one exception - the ability to hear the flute bill that performs background functions at other musical events that take place.
Access: This item is restricted to UNT Community Members. Login required if off-campus.
Date: 1975
Creator: Rudnik, Eugeniusz
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.
Access: This item is restricted to UNT Community Members. Login required if off-campus.
Date: 1975
Creator: Rolnick, Neil B.
Partner: UNT Music Library

Ouroboros

Description: Recording of Denis Smalley's Ouroboros
Access: This item is restricted to UNT Community Members. Login required if off-campus.
Date: 1975
Creator: Smalley, Denis
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.
Access: This item is restricted to UNT Community Members. Login required if off-campus.
Date: 1975
Creator: Bértola, Eduardo, 1939-1996
Partner: UNT Music Library

Tu viens chéri(e)

Description: Recording of Bernard Heidsieck's Tu viens chéri(e). The composer recorded 5 men and 5 women saying the sentence "Tu viens, chéri(e)" 150 times in a row and then combined this recording with mixed tape. The tape is stereo, with the women at the beginning on one track and the men on another, until all voices are together on both tracks. The entire piece represents a verbal orgasm with an unexpected phenomenon of more panic in each voice than of tenderness.
Access: This item is restricted to UNT Community Members. Login required if off-campus.
Date: 1975
Creator: Heidsieck, Bernard, 1928-2014
Partner: UNT Music Library

Whisper Study (for two electroacoustic sound tracks)

Description: Recording of Hildegard Westerkamp's Whisper Study (for two electroacoustic sound tracks). Whisper Study is based on the sentence "When there is no sound, hearing is most alert" (a quote from the Indian mystic Kirpal Singh. Except for the distant horns, all sounds were derived from the composer's voice, whispering the above sentence and the word "silence." Whisper Study started out as an exercise in exploring basic tape techniques in the analog studio of the 70s and using the whispered voice as sound material. Eventually, it became a piece about silence, aural perception and acoustic imagination. Whisper Study explores the place or moment where sound ends and its image begins. The poem "When There is No Sound" by Norbert Ruebstaat was written in direct response to the original version of Whisper Study. The poem in this version is spoken by the composer inside a soundscape of icicles and footsteps in snow, which originally was created for her radio series Soundwalking on Vancouver Co-operative Radio in 1978/79. Eventually this section was mixed with the last part of the original version of Whisper Study.
Date: 1975/1979
Creator: Westerkamp, Hildegard
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

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

Telesuono Hologram

Description: After an intense period of analog familiarization with the range and enormity of available sounds extraterrestrially and in nature, I tried the only techniques then available to me, tape manipulation and speaker placements. The only coloration that I employed in early sound handling was through equalization, balancing and combining mix-downs. I have always monitored from nearly neutral sensors, and my interest has been in trading, configuring and juxtapositionings and in the presentation of sound in natural and climatically different contexts, mainly exterior and in realtime. Within the 1980s, I worked with 200-speakers using an Intel 8080 microprocessor used for satellite teleperformances, with collaborators and in outdoor "studios." Structure wise my work centers around spaces in spaces, scale and proportion and my soundworks effect an awareness of the psychological effects of sounds, for instance, from trees and wind transformation via my windribbon. I'm concentrating on conceptualizing a segue into Internet 2 realtime with oncall 2way availabilities of my data-laden resources. My basic groundwork includes several recyclings of the TerraInstruments including the signal discs, selfbroadcasting trees, lased raindrops and windribbon variations in an attempt to express the voltages I seek from natural sources as recontextualized audible constructs: offering personal connections to the long term aural memories of earthguests. " The composer's primary interest has been to establish "'an unprecedented access to nature ... in sound'."-- "Blue" Gene Tyranny leif BRUSH '06 4a-LGB'75Telesuono hologram.wav 19:51 Each of these sounds have their in-space "envelopes" and I tried avoiding collisions; however, I was generous with overlaps. And, cyclic repeats assure long term memories. When completed, this was a lay-it-all-out experience expressly for head space. I enjoyed the spatially built manipulations and I was content with my overall context that, since I was the doctor, I knew all the parts; however, it doesn't come close the ...
Access: This item is restricted to UNT Community Members. Login required if off-campus.
Date: 1975
Creator: Brush, Leif 1932-
Partner: UNT Music Library

Solitude of Sounds

Description: Last October while thinking about a composition I was to realize in the Columbia-Princeton Studio I spent a lot of time in my room listening to distant noises coming in through a half-open window. It was a seemingly disordered mixture of the street hubbub, signals of the river ships, and the distant thunder of planes. After some time I had an impression of all these noises being alive and perhaps even conscious of their existence; it seemed as it they wanted to speak. United into one whole and yet confined only to themselves they created a lonely choir. I wanted to express this feeling in my new composition. Solitude of Sounds does possess a certain plot. In the first phase, the homogeneous sound material exists only at the lowest register, as if unable to "free" itself from the area of darkness and uncertainty. Later, in the higher register, there appear sounds complexes of harmonic structure. They form a kind of a "choir" of aliquots, mutually penetrating and "singing through" one another. However, they are not allowed to create any new quality due to their restricted nature. Circling and persisting, they remain forever imprisoned in their own imperfection. I would like to make it clear that the above comments should be treated only as an expression of a certain consideration on the origins of the piece but in no case as an attempt to reveal some literal dependencies between the inspiration — a definite sound situation — and the piece itself. This situation served only as an impulse to create a certain imaginative space filled with independent sound material governed by its own rules. Perhaps the reason for writing this commentary was a desire to explain my own dislike for music which very distinctly organizes the space by introducing an element ...
Access: This item is restricted to UNT Community Members. Login required if off-campus.
Date: 1975
Creator: Sikorski, Tomasz, 1939-1988
Partner: UNT Music Library

Viola celeste

Description: Recording of Michela Mollia's Viola celeste. This work was realized at the Experimental Studio of Electroacoustic Music of the Pesaro Conservatory. Its sound material consists of 950 sinusoids (sine curves) grouped into a mixture of 4 sinusoids each and arranged in 16 sets of 21 mixtures from beginning to end. Each layer (4 complexes) is a rather complex superposition of sinusoidal sounds whose frequencies vary in time so as to avoid the creation of melodies, but to stabilize between one frequency value and the next, a very small interval. "Viola Celeste" is the name of an organ register. The title means by my intention to synthesize the sound of this instrument, or rather more accurately, to create a sort of gigantic uniform "cluster.”
Access: This item is restricted to UNT Community Members. Login required if off-campus.
Date: 1975
Creator: Mollia, Michela
Partner: UNT Music Library

Decisions and Current Legislature

Description: Sound recording of Truman Eustis III giving a Court related speech titled "Decisions and Current Legislature" at the 10th Annual Oral History Colloquium at the Grove Park Inn in Asheville, N.C..
Date: October 26, 1975
Creator: Oral History Association
Partner: UNT Libraries Special Collections

Wave (for kiyoko)

Description: Recording of William Hawley's Wave (for kiyoko)
Access: This item is restricted to UNT Community Members. Login required if off-campus.
Date: 1975
Creator: Hawley, William
Partner: UNT Music Library