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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

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

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

Les Accords d'Helsinki

Description: Recording of Trevor Wishart's Les Accords d'Helsinki for tape.
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Date: 1980
Creator: Wishart, Trevor
Partner: UNT Music Library

Suite pour l'Ange

Description: Recording of Michèle Bokanowski's "Suite pour l'Ange" ("Suite for the Angel"). "L'Ange" was the feature film of Patrick Bokanowski, who was Michèle's husband. She wrote the entire accompanied soundtrack for the film. This recording is a part of that soundtrack. (https://en.wikipedia.org/wiki/Patrick_Bokanowski)
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Date: 1980
Creator: Bokanowski, Michèle
Partner: UNT Music Library

Naturalia

Description: Recording of Costin Cazaban's Naturalia for piano and tape. Circular games on the harmonic sounds of the totally linear solo piano part. The direction of the music shows the process of disintegration on the environment. The idea for the work was aroused by the myth of the Sister of Albert Camus.
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Date: 1980
Creator: Cazaban, Costin
Partner: UNT Music Library

[Dovie and Derrick Williams speaking; a lecture recording]

Description: Sound recording of Byrd Williams IV's son Derrick interacting with a woman, possibly his mother Dovie. There are background sounds and what could be a blender or other household item. Towards the end of the first track the sound begins to become distorted. The second track is from a professor's lecture about the realism artists of the early 1900s including John Sloan and George Bellows; the speaker focuses on societal progression and the history of social welfare projects through their art. At the 7:55 mark on track two Byrd gives a response to one of the professor's questions. Towards the end of the second track the sound becomes slightly distorted before cutting off.
Date: [1980..]
Creator: Williams, Byrd M. (Byrd Moore), IV, 1951-
Partner: UNT Libraries Special Collections

[Cassette recording of television and lectures on Robert Henri, John Sloan, and architecture]

Description: Sound recording by Byrd Williams IV. The first track opens with the ending of a commercial for trolls toys and then picks up with a recorded lecture with a woman speaking. She is discussing artists and the circle of influence that is the focus of this class session. She also speaks about an exhibit students had the chance to see. There is white noise throughout the recording and also background noises like coughing. The recording becomes distorted around the 11:30 mark and continues to be wobbly until the end of the first track. During the distortion the content switches to what sounds like a show on television and the lesson is cut off. The second track begins with a man speaking though it is too muffled to distinguish clearly. He mentions "modern architecture" and the "history of architecture" at a point early on. It breaks at the 4:15 mark on track two and returns to the woman's lecture, this time focused on John Sloan.
Date: [1980..]
Creator: Williams, Byrd M. (Byrd Moore), IV, 1951-
Partner: UNT Libraries Special Collections

L'agrippe des droits

Description: Recording of Henri Chopin's L'agrippe des droits. One male voice reads the poem which is then electronically processed. Written for Christian Clozier. Henri Chopin's "Audiopoems" was originally realsed on cassette by Edition Hundertmark as 89. Karton in 2001. Only 500 copies were released.
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Date: [1980,1995]
Creator: Chopin, Henri
Partner: UNT Music Library

Chacoel (Musik für den frühen Abend)

Description: Recording of Martin Rudolf Schwarzenlander-Fischer's "Chacoel (Musik für den frühen Abend)" for tape.
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Date: 1980
Creator: Fischer, Martin
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
Creator: Setter, Terry
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
Creator: Hanson, Sten, 1936-2013
Partner: UNT Music Library

L'approche de la lumière

Description: Recording of Daniel Arfib's L'approche de la lumière ("The Approach of the Light"). The piece functions as much as a sound experiment on the resonance of the vibrations as of sound as a concert piece. For the entire listening experience, pay particular attention to the quality of the silence before and after the performance.
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Date: 1980
Creator: Arfib, Daniel
Partner: UNT Music Library

Anticredos

Description: Recording of Trevor Wishart's Anticredos performed by Trevor Wishart. It is a live-performance piece for six amplified voices using extended vocal techniques, but no electronic modification of the voices. The piece, commissioned by the English group "Singcircle," takes the word "Credos" and slowly dissolves and changes its sound-constituents through processes of gradual transformation. This recording is a studio version of the piece "sung" entirely by the composer.
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Date: 1980
Creator: Wishart, Trevor
Partner: UNT Music Library

Chalumeau Rain

Description: Recording of Reed Holmes's Chalumeau Rain. The piece demonstrates the composer's concept of music as sound flow (a texture existing in time and space). For this reason, many of the clarinet sounds assume a gestural/electronic character. Chalumeau is a lyric expression of the electronic medium. The composer unites the live and electronic by using live clarinet sounds in the tape which have been manipulated by tape loops, reverb, phase shifting, reverse playback, amplitude modification and filtering. All pitch material is derived from a five note collection. Pitch material is developed by mains of various contours. Ascending, thrusting pitch series are expositional or developmental. Arch shapes exhibit stability and a relaxed character. Descending pitch contours provide or signal closure. Assignment and occurrence of these structural functions in Chalumeau is not simple. The composition grows from an interaction and mutual influence of the pitch and gestural ideas; often one idea dominant and others are struggling to predominate. Momentum and directed motion are additionally achieved by rhythmic activity and textural manipulations.
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Date: 1980
Creator: Holmes, Reed
Partner: UNT Music Library

Études 1 et 2

Description: Recording of Þorsteinn Hauksson's Études 1 et 2.The two etudes are the first works based on research carried out at the Institute for Research and Coordination in Acoustics/Music in Paris for more than a year on the techniques of organization of harmonics in composition. The goal was to find a coherence of composition between micro structure (harmonic structure) and macro structure. The pieces are the first text of using computer programs as a result of the study.
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Date: 1980
Creator: Þorsteinn Hauksson, 1949-
Partner: UNT Music Library

Output

Description: Recording of Gottfried Michael Koenig's Output for tape. This work emerged during the course of Koenig's systematic investigations into the PRIXM/VOSIM system at the Institute of Sonology in 1979. PRIXM is a computer program for making compositions, then either providing a printout in the form of tables or an audible output via the VOSIM sound system. This system is actually intended to inform the composer about pitch, loudness and rhythmic events - a kind of piano reduction. However, different kinds of sounds can be described, making the reduction sound better or even changing it altogether. Although Koenig was not trying to compose a piece of music, he was inspired by one particular event ( = output); he followed its traces by slightly adjusting the input data, eventually arriving at a sound structure which was both typical and aesthetically satisfying.
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Date: 1980
Creator: Koenig, Gottfried Michael
Partner: UNT Music Library

Omion

Description: Recording of John van Buren's Omion, performed by Monika Hölszky-Wiedemann, violin. "Omion" is the name of an archaic Byzantine melody-form. the piece revolves around the violin melody which interacts with various sound structures and is overwhelmed by a vast sound continuum at the end.
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Date: 1980
Creator: Van Buren, John, 1952-
Partner: UNT Music Library

Mouvements et formes

Description: Recording of Charles Clapaud's Mouvements et formes.
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Date: 1980
Creator: Clapaud, Charles
Partner: UNT Music Library

Atmen noch

Description: Recording of Teresa Rampazzi's Atmen noch. After many months of researching the relationships between harmonic or better harmonic spectra, this piece was the result of that research. This research was done jointly with Rampazzi's student Maria Luisa Bon. The form of the work is sets of stamps and association between them and a Grecian-inspired Cantus Firmus. The groups are figurations of galaxies out of time.
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Date: 1980
Creator: Rampazzi, Teresa
Partner: UNT Music Library

Music for clarinet, saz and electronics

Description: Recording of Josip Magdić's "Music for clarinet, saz and electronics," performed by the Sarajevo Composers Society of Bosnia and Herzegovina. In this piece, three sound sources are used at the same time, rustic motifs of folk music from Bosnia and Herzgava, played by the saz and with the clarinet and transformed in an electroacoustic synthesizer, which uses both a fixed electronic background and a momentary acoustic modulation. The piece was composed for the Sarajevo Masmantra Group, which in their group uses live traditional instruments with electroacoustic transformations.
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Date: 1980
Creator: Magdić, Josip
Partner: UNT Music Library