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L'Apocalypse

Description: Recording of Xavier Garcia's L'Apocalypse.
Date: 1985-1986
Creator: Garcia, Xavier, 1959-
Partner: UNT Music Library

The Birth of a Smile

Description: Miniature of a time process between five and nine in the morning. Dedicated to the Orgel Draaier, the men who carry their Barrel-Organ through the streets of Utrech.
Date: 1985-1986
Creator: Guttman, Ben, 1958-
Partner: UNT Music Library

Caroselli

Description: This is a fun piece and should be enjoyed by both the instrumentalists and the audience. The idea of the work is obvious from the name, "Carousel". Labels run our lives – who, what, where we are and so forth. Minimalism, Maximalism, Expressionist, traditional. All these labels have different meanings according to who is listening. Not mentioning the importance of where the listener is from. This piece should be listened to, and not labeled. It is conceived fro the Electro-Acoustic Concert Environment, and the colors here are painted for your ears. Enjoy.
Date: 1985-1986
Creator: Davidow, Joseph, 1949-
Partner: UNT Music Library

Deve essere tenuto lontano da fonti di luce

Description: This composition utilizes a lexicon of few simple elements (lexes) subordinated to compositional laws which do not reduce themselves to cumulative associations. They give to the whole characteristic features which are different from those of the single elements. A first set of rules is given by a well-defined ordering of low-level parameters, those which give rise to complex tones: number of partials, entry delay, relative durations, amplitude and spectral envelopes, attack rate, slow amplitude and frequency modulations, etc. At higher level there is a timbre space built on two dimensions which control the harmonicity of the complexes: compression-stretching and shifting. These determine one of the cues investigated by Stephen McAdams in his study on Auditory Images. The formal rules are first used for the organization of the single sounds in rhythmic structures and then for the arrangements of these structures to form the composition's whole. A fundamental feature of a structure as organization of meaningful parts is self-regulation. The structure controls and adjusts itself becoming a natural phenomenon. Rhythm reaches self-regulation by simple means such as symmetry and repetition. From these considerations comes the use of simple and regular rhythmic structures with a deep repetition character. The timbre space above mentioned enhances and more often alters this self-regulation when rhythmic organization and timbral organization are in conflict. Isolated concrete sounds represents the relation between synthetic and real worlds. I wish to thank Graziano Tisato of Centro di Sonologia Computazionale - University of Padova, where the work was realized.
Date: 1985-1986
Creator: Doati, Roberto
Partner: UNT Music Library

Dorian

Description: A universe. Self-contained. Where timbre were the principal item. To force it into another state; apart; and let it, in accordance with its own laws, return to its rest; and then to begin to compose. Bend and vary, change and break. To alter some kind of perfection in order to attain something else. Two main items shared the conception of this piece: the possible richness in perception provoked by the duality: whole versus parts; and the possibility of mapping into musical events the behaviour of an abstract system of interrelated objects when following an stochastic process towards its equilibrium. My first step was to define, in terms of a macro-static situation, the final state of my system. This final structure defined the harmonic, dynamic and timbrical aspects of nine different "objects" (fundamental, formant areas, subharmonics,modulations and relative microcomportment of these characteristics within one instance). The relative durations in the equilibrium of these objects, as well as the whole duration of the piece, the structural points defining the macroform, and other characteristics of the whole (hierarchies, symmetries...) were evolved from this final state of the system. {I was careful to define very colourful and individualistic microbehaviours for these objects, whilst, on the other hand, I was harmonically and spectrally provoking an amalgamation of all sounds.} The next step was to create an algorithm, basically a thermodynamic -stochastic process, which would follow, within the scope of the degrees of freedom of the system, the "hinges" marked as structural points and the other previously mentioned characteristics. It was something like taking this system from its repose and forcing it into a different state, and then, shifting and biasing its natural tendency towards its rest state inserting gates and force fields in its way.
Date: 1985-1986
Creator: González Arroyo, Ramon
Partner: UNT Music Library

Isola

Description: "Isola" was commissioned by Swedish and Netherlands Radio Companies for the Asko Ensemble, the piece utilizes a many fold worlds of compositional techniques overlapping each other and controlling different parts of the instruments. Sometimes in groups of instruments or individual instruments. Sometimes controlling the whole of the musical structure. "Surrounded" by the instrumental structures lies a tape part based on sampled "microsounds" and freezings of small parts of the instrumental part, thus creating an isolated reflection of the worlds around it. The piece uses a simple overall shape, starting a vague "blue" it develops more pregnant structure as well as intensity, finally ending in a totally "freezed" coda.
Date: 1985-1987
Creator: Parmerud, Åke, 1953-
Partner: UNT Music Library

Jubilum

Description: Recording of Ira Mowitz's Jubilum.
Date: 1985-1986
Creator: Mowitz, Ira, 1951-
Partner: UNT Music Library

Maze

Description: Maze is the first part of an evening long multi-media work commissioned by the Bohus County Council and Musik i Väst. It is planned for a Nordic Arts Festival in Göteburg in 1989, with choreography by Biörn Elisson and stage design by Kjell Åhslund. This is an electro-acoustic work including both authentic instrumental sounds and fragments of song and vocal sounds from Kerstin Ståhl. The idea is to link up this mucis with a species of "sculptured scenes" without any real dramatic content, and a slide show. In this first part of the composition, an alluring surface is strectched to the point of the unbearable in "a balancing act between the beautiful and something whose anodyne loveliness makes it nauseating and ugly". This effect, however, is achieved mainly by pictoral means; the music principally conveys a complex holistic experience. In a second apart, not included in this record, all outward finery is pared away in a bare, introspective vision of life, death, and love.
Date: 1985-1986
Creator: Parmerud, Åke, 1953-
Partner: UNT Music Library

New Rochelle

Description: Recording of Violeta Dinescu's New Rochelle.
Date: 1985-1986
Creator: Dinescu, Violeta
Partner: UNT Music Library

Là où Mène le Monde...

Description: The initial idea was to make a piece only on and through Fairlight, via the Musice Composer Language (MCL). He had, indeed, just made his appearance in the studio. So I hung my feet, like many others, in the whole process of learning, from the linguistic difference of the instruction books to the time of experimentation or "taming". He had finally seriously amputated my bank of studio hours, and I had only three minutes of realized ... the machine had me: Well disappointed, to reorient the shot, I took the flint of the Stone Age, Pierre Shaeffer ... obviously, and put me back to cut the band, using the Fairlight as a sound generator, sampled u no, and as sequencer in real time. And it will go where the world leads. Moreover, it was my farewell play at the luxurious studio of the University of Montreal. Leaving the establishment is also asking when and where, devil, will we see the day to retouch the electro. I wanted to make a more "lyrical" piece than the ones I had made, by comparing harmonies and non-harmonies, climates and atmospheres, "pure" electroacoustics and quotations. After all, the "all sound" is the "all sound", that is to say the entire "soundtrack" of our society. Voila! The pretext of the flute is the song of the American blackbird, bird of the brunantes and after the rain. Child, there was a nest in a big pine tree near my bedroom window ... The flute as if to ward off the burial of the future ... "Do not know it ... It's over, I'm going to take it away, it's over."
Date: 1985-1986
Creator: Desjardins, André-Luc, 1955-
Partner: UNT Music Library

Palimpsest

Description: "Sound recycling" would be the perfect term for Gerald Trimmel's composition cycle called "Palimpsest". When Trimmel performed his first "Palimpsest" in 1985, he did not consider this work as a final result. The following compositions were characterized by various procedures of sound accumulations and structural rearrangements. A lot of acoustic ready mades and complex structured sound elements were inserted, which first covered up and by and by extinguished the older ones. So the shrinking and dissolving fragments and the "young" and powerful soundscapes appear as antagonists of something like "aesthetics of dissapearance." The composition principle is based on the Palimpsest-technique (from the greek "palimpsestos"), which was used until the Middle Ages: manuscript pages or books, that have been written on, were scraped off, and used again.
Date: 1985-1990
Creator: Trimmel, Gérard, 1962- & Böhm, Peter, 1961-
Partner: UNT Music Library

Press

Description: For four channel computer synthesised tape. This is a stereo version. This work was composed at CCRMA (1986), Stanford University, using the Samson Box digital synthesizer and the programs to control it written by Bill Schottstead. It makes use of several computer musical instruments programmed by X.Serra, J.Mattox, D.Jaffe, J.Smith and the author, some of them are resemblance of acoustic instruments. "Press" is a divertimento about rhythmic perception. A regular rhythm (with only one duration) is transformed into another with almost perceptible irregularities. This ambiguous rhythm later becomes one with four clearly differentiated durations. The rhythm of the sun is also present, a function which represents the sun spots activity from 1940 to 1985 is used sometimes to control amplitude and spectrum.
Date: 1985-1986
Creator: Núñez, Adolfo, 1954-
Partner: UNT Music Library

Reverberation

Description: Reverberation's electronic base was created only for cello sound.
Date: 1985-1986
Creator: Kopecký, Pavel, 1949-
Partner: UNT Music Library

Ritournelles II

Description: The human voice has always fascinated me. The year of my 16 years under the spell of the great Hungarian singer Ilona Durigo, I began to write songs that were followed by compositions (1959-61: "Miracles" for soprano and 8 instruments, 1968: " Psalm 141 "for mezzo-soprano and orchestra that was played for the first time by Bruno Maderna, etc ...) In 1967, I tried to mix singing and electronic sounds; my music "The Clothes of the Demoiselle" for soprano and band got the Swiss prize. The same year, I proposed to base the organization of the world of electronic sound on the characteristics of the human voice (Was ist elektronische musik, Zurick 1967) an idea that I concretized later with VOSIM for synthesis of its (SIMulation) and MIDIM for Digital Dialing. The two jingles are formed of "stanzas" from which their title is derived. The 11 stanzas of the first piece are developed from a single basic model in a "micro-tonal" way. This would not have been done without the help of a computer, the second piece consists of 3 stanzas, and completely explores the sound material used for "magnetic songs". These two pieces will be followed by a third one that I am currently composing for the International Conference of Electonic Music in The Hague. The final version of Ritournelle will be a piece for soprano, mixed choir and computer in which the three soprano solos will shine.
Date: 1985-1986
Creator: Kaegi, Werner
Partner: UNT Music Library

Tel

Description: "Tel" is a word used in the Middle East and Bulgaria to say "hill" where layers of ruins mark the ebb and passage of historical cycles. All the musical material in this piece comes (or in a sense is reconstructed) from a matrix sequence of sound artifacts lasting approximately one and a half seconds. To create this micro-sequence, the author extracted pieces of tape from the trash bin of the electronic studio. Some first "waste" contained sounds of a man's voice (only source of all heights), the following contained either unrecognizable original noises or silences. From these nuclear sounds emerges all the musical material of the piece through the classical electroacoustic transformation means. "Tel" is roughly divided into three intertwined parts, each representing a phase in a cyclical pattern of evolution. In the first part, agglomerations of heterogeneous primordial sound elements intertwine with fast shapes similar to trajectories. In the second part, the sound elements reappear as standard patterns in more heterogeneous relationships. Despite and because of their mutual resemblance and common origin, these pattern-types ("musical sub-cultures") compete with one another in importance. Their identity, defined through patterns of recurrence (repetition), begins to lose their capacity to grow because of the increasing insistence of their repetitiveness. In the third part, repetitiveness reaches a level of extreme density and intransigence. The subtle dimensions fade and the fiction between the musical elements degenerates into rigid conflicts - a grotesque and decadent situation that must follow its course. Commission of the Music Commission of the City of Basel, realized in the Electronic Studio of the Academy of Music of the City of Basel (Switzerland). The work is dedicated to Balz Trumpy.
Date: 1985-1987
Creator: Levine, Josh, 1959-
Partner: UNT Music Library

The Vanity of Words

Description: In 1985 and 1986, I composed two pieces of digital music using the program of F.R. Moore SPACE and the editorial algorithms SPLITZ and SPIRLZ. The first, Vertigo, was based on piano sounds, the second, The Vanity of Words uses reading and singing by Philip Larson of a text I extracted from Milan Kundera's short story "The Unbearable Lightness of Being. ". The works explore the numerically controlled effort of differentiation between music and note, both in terms of structural and expressive perspectives. The basic material was already recorded as being executed in such a way as to capture and use in the composition the volition of interpretation that the performers impose on the objective peculiarities elicited by their answers. My different (aspiration, deep intonation, declamation). Distinctions of this type help to differentiate the project from these two works. A formal project that I invented: the transformational mosaic. Each "tile" of the musical mosaic is drawn as usual, but tile groups exhibit broader aesthetic directions, both in terms of temporal structures and spatial structures. The spatialization of multiple layers of fragments of materials provides their intelligibility, it softens the degree, where elements that coincide and become obscure, as well as the succession of what the listener can apprehend fragments that dry up with extreme speed. Can be an analogy between a normal photograph and a hologram, can it be made.
Date: 1985-1986
Creator: Reynolds, Roger, 1934-
Partner: UNT Music Library

Vision

Description: This artwork was entirely created on the Fairlight IIX series. Complex sound sequences were produced by tracing the strong individual shapes of some of the 32 natural harmonics by means of a light pen; these were then played on the polyphonic keyboard of the instrument, which was tuned for different equal microtonal and macrotonal subdivisions of the octave, and recorded by the computer sequencer (in the same way as with a recorder digital tape). Finally, these sequences were most often replayed at different speeds, most often faster, sometimes more slowly. Originally, the band was part of a musical theater piece composed in 1985, "I have a dream", a piece inspired by ecology and the title taken from a speech by Martin Luther King.
Date: 1985-1987
Creator: Davies, Hugh, 1943-2005
Partner: UNT Music Library

Voyage

Description: It is a piece for 4-track tape, composed between November 1985 and August 1986 at CEMAMu (Centre d'Etudes de Mathématiques et Automatique Musicale) in Paris, using the UPIC, a graphically oriented computer system designed by Iannis Xenakis. The mixing was done in October 1986 at the Experimental Studio of the Polish Radio and Television in Warsaw with Ewa Guziolek as sound engineer. With the UPIC system, the composer is able to design all aspects of the music by means of an electro-magnetically sensitive drawing table. By means of a digital tape drive and D/A converters, data and sounds can be heard and stored, and higher level mixing of sounds and sections of the score can be done digitally. In "Voyage", there is a concentration on continual transformations of all parameters of the musical material; waveforms, dynamic forms, pitches, textures. For large sections of the piece there are five 'voices', which are similar but independant, and with rhythmic structures which are related to each other with the proportions 9:10:11:12:13. In the spatial projection, the four channels are divided into left and right, each side being in stereo (i.e front and back). Voices 9 and 11 are heard on one side, and voices 11 and 13 are heard on the other side, with voice 10 shared between the two. In the harmonic organisation, in general the voices, which are separated into two channels (two stereo channels) on the tape, are achieved. This effect is most evident in the opening and closing sections, but is still present in the middle sections which are more texturally complex and the voices less distinct. The initia inspiration for "voyage" came from a fragment of "savitri" by Sri Aurobindo : A maenad of the cycles of desire Around a Light she must not dare to touch, Hastening ...
Date: 1985-1986
Creator: Harley, James, 1959-
Partner: UNT Music Library

[Diane Reeves Lecture, April 23, 1985: Parts 1 and 2]

Description: Jazz Lecture Series presentation by Diane Reeves on April 23, 1985 at 9:30AM at the UNT College of Music. Includes lecture, master class, and performance by Diane Reeves, vocals, interspersed with questions from the audience.
Date: April 23, 1985
Creator: Reeves, Diane
Partner: UNT Music Library

[Diane Reeves Lecture, April 23, 1985: Parts 3 and 4]

Description: Jazz Lecture Series presentation by Diane Reeves on April 23, 1985 at 2:00PM at the UNT College of Music. Includes lecture, master class, and performance by Diane Reeves, vocals, interspersed with questions from the audience.
Date: April 23, 1985
Creator: Reeves, Diane
Partner: UNT Music Library

[George Mraz Lecture, April 16, 1985: Part 1]

Description: Jazz Lecture Series presentation by George Mraz on April 16, 1985 at 9:30AM at the UNT College of Music. Includes lecture and performance by George Mraz, bass, interspersed with questions from the audience.
Date: April 16, 1985
Creator: Mraz, George
Partner: UNT Music Library

[George Mraz Lecture, April 16, 1985: Part 2]

Description: Jazz Lecture Series presentation by George Mraz on April 16, 1985 at 2:00PM at the UNT College of Music. Includes lecture and performance by George Mraz, bass, interspersed with questions from the audience.
Date: April 16, 1985
Creator: Mraz, George
Partner: UNT Music Library

Emily Remler Lecture, April 9, 1985: Part 3

Description: Jazz Lecture Series presentation by Emily Remler on April 9, 1985 at 2:00PM at the UNT College of Music. It includes a lecture and performance by Emily Remler, guitar, interspersed with questions from the audience.
Date: April 9, 1985
Creator: Remler, Emily
Partner: UNT Music Library

Emily Remler Lecture, April 9, 1985: Parts 1 and 2

Description: Jazz Lecture Series presentation by Emily Remler on April 9, 1985 at 9:30AM at the UNT College of Music. It includes a lecture and performance by Emily Remler, guitar, interspersed with questions from the audience.
Date: April 9, 1985
Creator: Remler, Emily
Partner: UNT Music Library