Search Results

[Oral History Workshop]

Description: Sound recording of an oral history workshop in San Diego, California.
Date: October 20, 1977
Creator: Oral History Association
Partner: UNT Libraries Special Collections

Film History

Description: Sound recording of a talk titled "Reel-on-Reel Film History" given at the 1977 Oral History Association Colloquium in San Diego, California.
Date: October 22, 1977
Creator: Oral History Association
Partner: UNT Libraries Special Collections

Reliability of Memory

Description: Sound recording of a talk titled "Reliability of Memory" given during the 1977 Oral History Association Colloquium in San Diego, California.
Date: October 22, 1977
Creator: Oral History Association
Partner: UNT Libraries Special Collections

Philanthropic Foundations

Description: Sound recording of a talk titled "Philanthropic Foundations" recorded during the 1977 Oral History Association Colloquium in San Diego, California.
Date: October 22, 1977
Creator: Oral History Association
Partner: UNT Libraries Special Collections

History From the Bottom Up

Description: Sound recording of a talk at the 1977 Oral History Association Colloquium in San Diego titled "History From the Bottom Up".
Date: October 22, 1977
Creator: Oral History Association
Partner: UNT Libraries Special Collections

Workshop: Developing an Index System

Description: Sound recording of a talk titled "Developing an Index System" given during an Oral History Association Workshop.
Date: October 21, 1977
Creator: Oral History Association
Partner: UNT Libraries Special Collections

Interviewing Techniques

Description: Sound recording of a talk titled "Interviewing Techniques" given during the 1977 Oral History Association Colloquium in San Diego, California. The talk is specifically about techniques of mass media interviewing.
Date: October 22, 1977
Creator: Oral History Association
Partner: UNT Libraries Special Collections

Tale of Two Cities

Description: Sound recording of a talk titled "Tale of Two Cities" given during the 1977 San Diego Colloquium in San Diego, California. The cities mentioned in the talk are Houston, Texas and Phoenix, Arizona.
Date: October 21, 1977
Creator: Oral History Association
Partner: UNT Libraries Special Collections

San Diego Workshop Welcome

Description: Sound recording of Wyatt and Schultz giving a welcome speech during an Oral History Association Workshop in San Diego, California.
Date: October 20, 1977
Creator: Oral History Association
Partner: UNT Libraries Special Collections

Wind, Water, and Quake

Description: Sound recording of a talk titled "Wind, Water, and Quake" recorded during the 1977 Oral History Association Colloquium in San Diego, California.
Date: October 23, 1977
Creator: Oral History Association
Partner: UNT Libraries Special Collections

Latin American Oral History

Description: Sound recording of a talk titled "Latin American Oral History" given during the 1977 Oral History Association Colloquium in San Diego, California.
Date: October 21, 1977
Creator: Oral History Association
Partner: UNT Libraries Special Collections

Oral History in Hawaii

Description: Sound recording of a talk titled "Oral History in Hawaii" given during the 1977 Oral History Association Colloquium in San Diego, California.
Date: October 23, 1977
Creator: Oral History Association
Partner: UNT Libraries Special Collections

The Why of Oral History

Description: Sound recording of a talk titled "The Why of Oral History" given during an oral history workshop in San Diego, California. Research for the talk was done by Manfred Waserman, teaching by Gwendolyn Safier, and preservation by Kenneth W. Rock.
Date: October 20, 1977
Creator: Oral History Association
Partner: UNT Libraries Special Collections

Funding Oral History

Description: Sound recording of talk titled "Funding Oral History" given during the 1977 Oral History Association given by Willa K. Baum and Thomas Charlton in San Diego, California.
Date: October 21, 1977
Creator: Oral History Association
Partner: UNT Libraries Special Collections

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 ...
Access: Restricted to UNT Community Members. Login required if off-campus.
Date: 1977
Creator: Bergstrøm-Nielsen, Carl
Partner: UNT Music Library

Liège à Paris

Description: Recording of Henri Pousseur's Liège à Paris for tape. The preposition "à" refers to several possible verbs: first, Liège thinks of Paris, and his first way of expressing it is to go there in a fictitious way, to play to visit it, to be there. So one can perceive that this is not just an illusion, that Liege (just like Geneva or Montreal) is in Paris, in every sense of the word, including that of 'to belong'. All these cities are part of a vast linguistic and cultural fabric, of which Paris is undoubtedly the heart. Finally, he dreams of a Paris really deserving its title of "City-light", to which Liège would strive to answer (even if its blast furnaces are extinguished one after the other) by that of "Cité ardente". Apart from the spontaneous, daily, improvised words gleaned from here and there by more or less indiscreet tape recorders, apart from four groups of brief quotations from Arcane 17 by André Breton, and apart from a promulgation of a rather official, easy to identify (and that our author has already incorporated into one of his prose), the texts used are all extracts of works by Michel Butor ("I hate Paris", main text, included in "Where" and "The island at the end of the world", in "Repertoire III"). Voice of Frédéric Bosseur, Jean-Yves Bosseur, Jean Drèze, René Hainaux, Isabelle Pousseur, a group of pupils of declamation classes of the Conservatoire de Liège, a group of collaborators of the Center for Musical Research of Wallonia and the children of the collaborators.
Access: Restricted to UNT Community Members. Login required if off-campus.
Date: 1977
Creator: Pousseur, Henri
Partner: UNT Music Library

Pour bande et instruments divers

Description: Recording of Bogusław Schäffer's "Pour bande et instruments divers" ("For tape and various instruments")
Access: Restricted to UNT Community Members. Login required if off-campus.
Date: 1977
Creator: Schäffer, Bogusław
Partner: UNT Music Library

Cercles vicieux

Description: Recording of Fernando Lafferrière's Cercles vicieux. The title "Vicious Circles" is an allusion to the technical means used: the electronic feedback considered as a vicious circle in an amplifier. The piece, in its ternary section, is of a very simple formal conception; in the alternation of movements, moderate-slow-vivid, almost traditional. Brief introduction Intense fluctuating background, extended acute line, all punctuated by percussive elements. Sounding color serene, tender and fresh; Serious threatening darkness obscures this serenity. A great crescendo leads into the final dynamism. On an intense and hesitant background, aggressive, hammered, percussive accents until the final rhythmic culmination.
Date: 1977
Creator: Lafferrière, Fernando
Partner: UNT Music Library

Amanecer

Description: Recording of José Vicente Asuar's Amanecer. “Amanecer” is formally a very simple work. Through this and other works, I try to project the possibilities of electroacoustic music in a sonorous universe where harmonic intervals prevail and a formal concept not far from impressionism. For a long time I experienced, as other composers have, new possibilities of sound and structure, matter and musical form, with electroacoustic sounds. I have not abandoned the search, but I want to choose some things in works that are simple and easy to listen to for any auditor. This is the reason of being of works like “Amanecer”: a break in the path of a creator. From a utilitarian point of view, “Amanecer” is thought of as music for ballet, as an introduction to some work of greater encouragement that is still to be written.
Access: Restricted to UNT Community Members. Login required if off-campus.
Date: 1977
Creator: Asuar, José Vicente
Partner: UNT Music Library

Concertante

Description: Recording of Samuel Headrick's Concertante for Violoncello and Magnetic Tape. It is aggressive and decisive in nature with sections that emerge from and evolve into one another, giving the piece a feeling of inevitability. The title describes the concert-piece in which both instruments are used in virtuosic solo capacities. It was inspired by Brahms's Symphony Number One, First Movement and Alfred Lord Tennyson's "Ulysses."
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Date: 1977
Creator: Headrick, Samuel
Partner: UNT Music Library

Ever-Livin' Rhythm

Description: Recording of Neil Rolnick's "Ever-Livin' Rhythm." All of the sound material comes from fragments of African music taken mostly from field recordings of music of the BaBenzele pygmies of Central Africa, which was then transcribed by Rolnick. The rhythmic drive of the piece is similar to the kind of infectious music which has come out of the African diaspora. The computer part was realized on a mainframe computer which would calculate the batch files, which is an aspect that endures in Rolnick's later works as well.
Access: Restricted to UNT Community Members. Login required if off-campus.
Date: 1977/1978
Creator: Rolnick, Neil B.
Partner: UNT Music Library

Stria

Description: Recording of John Chowning's Stria. The work uses the processes of computer synthesis to precisely control the spectral components - the partials - of sound. A non-tonal division of the frequency space is based on the golden ratio which is also used to determine relationships between inharmonic spectral components. Chowning received one of the Institute for Research and Coordination in Acoustics/Music's (IRCAM) first commissions to compose a piece for the first series of concerts of the Institute (which was presented by Pierre Boulez in Paris of 1977) at the initiative of Luciano Berio. Stria was composed between the summer and autumn of 1977 at the Center for Computer Research in Music an Acoustics of Stanford University.
Access: Restricted to UNT Community Members. Login required if off-campus.
Date: 1977
Creator: Chowning, John M.
Partner: UNT Music Library