Search Results

Guest Recital: 1981-02-27 - Paula Robinson, flute

Description: Guest artist recital performed at the UNT College of Music Recital Hall
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Date: February 27, 1981
Creator: Robinson, Paula
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

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

Spasme

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

Aux lampions

Description: Recording of Bertand Dubedout's "Aux lampions" ("To the lanterns"). Lampions are small oil lamps, formerly popular as a carriage light. It is a concrete piece in three movements: "Bal convexe" ("Convex ball"), "Le cocher" ("The coachman"), and "Sous les planches" ("Under the boards"). For writers like Bulgakov, Gogol, and Chekhov, the ball scene is often a story of action, tragedy, or desperation; the ball can ruin an existence or bring hope. Delight, delusion, and loneliness are the multiple stigmata of the ball. The sound materials of the piece are all concrete sounds that are based on reality. The sound forms escape any precedence, combining to create images of incongruous weddings like in an agitated dream.
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Date: 1981
Creator: Dubedout, Bertrand
Partner: UNT Music Library

Pourquoi t'as jeté ta pantoufle?

Description: Recording of Xavier Garcia's "Pourquoi t'as jeté ta pantoufle?" ("Why did you throw your slipper?"). Garcia asks the listener to do two things when listening to the piece: to pervert your listening and to find drama where there is none. To is done through both concrete listening (identifying the surrounding sound world, hearing external noise and understanding the "clues" -- this sound is read as the index of a causality.) and abstract "reduced" listening (listening to the thing for itself, detached from its causal context -- a sounds characteristics, height, dynamics, articulations). Therefore, in the piece there is always a constant misunderstanding between listening to the counterpoint of different "ways" and listening to a casual reference anecdote. In addition, the ambiguity lies in the fact that the sound data that constitutes the anecdotal reference is also one of the melodic paths of counterpoint. The piece was realized in the G.R.M. studios in February and March 1981.
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Date: 1981
Creator: Garcia, Xavier
Partner: UNT Music Library

Scythia

Description: Recording of Stephen Montague's Scythia for electronic tape. Scythia was a region of Central Eurasia in classical antiquity encompassing parts of Eastern Europe east of the Vistula River and Central Asia, with the eastern edges of the region vaguely defined by the Greeks. It was thought of as the great land of education. It was also the place where Prometheus gave fire to man and where he was confined to be tortured by the gods for this. Every day an eagle came and tore out his liver and every day he endured.
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Date: 1981
Creator: Montague/Mead Piano Plus
Partner: UNT Music Library

Tremola impressao

Description: Recording of Rodolfo Caesar's Tremola impressao. This piece is a mix of disparate languages: instrumental music, sounds of nature and electroacoustic music, resulting in a different kind of electroacoustic music. The material originates from earlier works, not always Caesar's, but manipulated to make it different. He tried to make useful the sounds that were condemned trash; without any comparison with "Fontana Mix" by John Cage
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Date: 1981
Creator: Caesar, Rodolfo, 1950-
Partner: UNT Music Library

Blueberry

Description: Recording of Gabriel Poulard's Blueberry for tape. The title refers to the name of a cartoon character. The piece was realized at Groupe de Musique Expérimentale de Bourges (GMEB).
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Date: 1981
Creator: Poulard, Gabriel
Partner: UNT Music Library

Balthasar's Traum

Description: Recording of Frank Corcoran's "Balthasar's Traum" performed at the Electronic Studio of the Berlin Technical University in close cooperation with Folkmar Hein. The work is based on an idea of a short story by Jorge Luis Borge and the Gospel of St. Mark about Balthasar Espinosa, a man who becomes involved with the Gutres people of Pampa and eventually dies by being hanged on a cross by the same people with whom he was so fascinated. It takes place in the great plains of the Pampa where Baltasar Espinosa is invited to his friend's ranch. To escape the monotony of continuous rain, he begins every night to read aloud to the fascinated Gutres people. They ask for him to reread the Gospel of St. Mark. Mysterious things begin happening during the dark days -- Baltasar cures an animal through 20th century means, something the Gutres have never seen before. The rain eventually stops. That night a virgin Gutre girl visits Baltasar's bed. The next day, he reads the Gospel to the Gutres for the last time. They then ask Baltasar, who is not a believer, if even those who crucified the Savior can receive salvation. They ask for his blessing, then they violently push him into a corner where they beat him and spit on him. Baltasar then sees the cross that has been prepared for him. The work is described not as a program work, but rather a sound correlation of scenes from history.
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Date: 1981
Creator: Corcoran, Frank
Partner: UNT Music Library

6 electronic preludes

Description: Recording of Bohdan Mazurek's 6 electronic preludes for tape.
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Date: 1981
Creator: Mazurek, Bohdan
Partner: UNT Music Library

8 Deustche Tänze

Description: Recording of Peter Wessing's 8 Deutsche Tanze.
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Date: 1981/1982
Creator: Wessing, Peter
Partner: UNT Music Library

Blendings

Description: Recording of Clifford Taylor's "Blendings" performed by Clifford Taylor, clarinet. The piece focuses primarily on combining various registral sounds of the clarinet with synthesized sounds of a variety of timbres.
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Date: 1981
Creator: Taylor, Clifford
Partner: UNT Music Library

Maa'ts

Description: Recording of Bogusław Schäffer's Maa'ts for tape (4-lane). The composition if a collage for voices and electronics. The choir sings in harmonically exact microcompositions.The piece was produced in February 1981 in the studio of the Technical University Berlin.
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Date: February 1981
Creator: Schäffer, Bogusław
Partner: UNT Music Library

Madrigal

Description: Recording of Zoltán Pongrácz's Madrigal for tape. The aim of the composer was to create a madrigal, one of the most aristocratic of the choral genres of the Renaissance, through electronic means. He uses the characteristics of the Italian madrigal as an element of the musical color to create effects of the Gothic choral music. The raw material is based only on the recitation of the sonnet, as well as on sounds sung at various frequencies by the choir. Pongrácz also calls this work a concerto, but not in the traditional understanding of the genre, particularly in the case of the conception and the formal structure; he calls it such because of the contrast between the cymbalum and the spectra of the oscillators. Madrigal was realized at the Studio for Electronic Music of the Hungarian Radio in Budapest.
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Date: 1981
Creator: Pongrácz, Zoltán
Partner: UNT Music Library

Targeting

Description: Recording of Henry Kucharzyk's Targeting for tape. The piece is based on the composers personal observations of the presidential campaign.
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Date: 1981
Creator: Kucharzyk, Henry
Partner: UNT Music Library

Nazca Liftoff et Time Arroyo

Description: Recording of David Rosenboom's "Nazca liftoff et Time Arroyo." David Rosenboom: Nazca Liftoff and Time Arroyo. Nazca Liftoff and Time Arroyo are two sections of a series of seven pieces composed for the album, "Voyage Futur." These are two examples of what the author calls "high performance." These pieces are completely based on algorithms. Direct actions to the computer have the effect of directing the algorithm process to crucial branches and selecting sets of musical materials and / or relationships with what the program performs. All sounds are created by the author with "Key" controlled by computer with digital sound generation and "Patch-IV".
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Date: 1981
Creator: Rosenboom, David
Partner: UNT Music Library

Reszere

Description: Recording of László Dubrovay's Reszere for percussion and tape.
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Date: 1981
Creator: Dubrovay, László, 1943-
Partner: UNT Music Library

Spattering... A shower

Description: Recording of Robert Rowe's "Spattering... A Shower." This piece of computer music focuses on the organization of sound and the process of adopting the medium of a digital computer to produce music compositions.
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Date: 1981
Creator: Rowe, Robert, 1954-
Partner: UNT Music Library

Una pulce da sabbia

Description: Recording of Roberto Doati's "Una pulce da sabbia" ("A Sand Flea") for tape. This work utilizes a timbre space built on three dimensions: spectral energy distribution, spectral fluctuation, and high frequency energy which precedes the full attack of the tone. The sound synthesis models used are simple waveshaping and FM. The overall structure of the composition is generated by the projection on a two-dimensional space with frequency as the ordinate and time as the abscisa, of an architectural structure plan. Doati achieved the desired temporal extension by means of the ‘slowing perspective’ technique. As regards the choice and the treatment of the macrostructure and its internal organization, they depend exclusively on the compositional parameters: symmetry, regularity, direction, velocity, focus and flight point (terms borrowed from the visual arts world). The internal temporal organization of the polyphonic rhythmic structures that make up the macrostructure is given by the position of the focus. This one is determined too by the parameters above mentioned. Each structure takes the timbre that occupies the corresponding position in the timbre space. It was realized at the facilities of the Centro di Sonologia Computazionale at the University of Padova.
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Date: 1981/1982
Creator: Doati, Roberto
Partner: UNT Music Library

Static arches

Description: Recording of Thierry Lancino's Static arches. The inspiration for this piece dates back to June 1980 when Lancino first crossed the desert in Utah, particularly the Arches National Monument which is an infinite space of massive stone arches carved over time. Apart form the visual connotation, principles of intertwined independent arches is applied to the architecture of the piece itself, as well as tho the "filling" of the quadraphonic space, this helping the appearance of sonic sound holograms. The piece was entirely computer generated. The "Foonly" computer was in interface with a synthesizer-processor in real time called the Samson Box, a prototype which was designed and built by Peter Samson at System concepts in San Franscico. The method of synthesis is the frequency modulation of John Chowning. The compositional algorithms were developed thanks to Bill Schottstaedt's "Pla" program. Static arches was realized in the studios of Computer Center for Research in Music and Acoustics (CCRMA) at Stanford University, California, from November 1980 to March 1981.
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Date: 1981
Creator: Lancino, Thierry
Partner: UNT Music Library

Suiana Wanka

Description: Recording of Fernando Condon-Garcia's Suiana Wanka for tape. This work collects and develops independently the materials of a music scene for Peter Shafer work "The Royal Hunt of the Sun". It is based exclusively on sound recordings of various Latin American instruments such as the Indian flute, pincuyos, sicus, tarkas, mohecenos, various kinds of percussion, etc., to which are added, during some passages, instruments from European culture (organ, flute, bass). The original sound was made in a professional studio, and the final realization was made in ELAC, a small Montevideo studio, with the technical assistance of Carlos Da Silveira.
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Date: 1981
Creator: Condon, Fernando, 1955-
Partner: UNT Music Library

Walking Bells

Description: Recording of David Porter's Walking Bells for tape. The piece is a tour through an environmental/concrete landscape. It is another variation on the "cumulative form." This is the second in a series of four tape pieces. As with all these pieces, this piece comments on political and compositional methods and devices. In this instance, the piece makes reference to another composer whose style is borrowed. Other than that, it is pure experience. This piece should be listened to with speakers placed well apart and volume up the the highest comfortable level at the last two minutes of the piece.
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Date: 1981
Creator: Porter, David, 1953-
Partner: UNT Music Library

L'imminence de la lumière

Description: Recording of Daniel Arfib's "L'imminence de la lumière" ("The imminence of light"). It is one of the several pieces of computer music Arfib created as a researcher and composer.
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Date: 1981
Creator: Arfib, Daniel
Partner: UNT Music Library