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Potpourri

Description: Potpourri is made with the sounds of hits from the Eighties. As this piece is meant to be taken ironically I will give you this smiley. :-)
Date: 1985
Creator: Röder, Klaus, 1948-
Partner: UNT Music Library

Preludio No. 2

Description: Converting music gradually to the sound elements that nature gives us is the best way to enrich musical creation and man (it should be noted that nature is an instrument made of bamboo canes, a sinusoidal generator). This is how the composer understands the continual evolution.
Date: 1985
Creator: Moreno, J. A. (Juan Antonio)
Partner: UNT Music Library

Galileo Galilei

Description: Based on the play "Vie de Galileo, Galilei" by Bertold Brech, this music synthesizes the spirit of staging performed in Havana, by the "Grupo Teatro Estudio" (Theater Group Studio) under the direction of Vicente Revvetta. The voices of the actors themselves, emitted during the preparation exercises for staging, have been used as acoustic material. Moreover, the materials obtained by electronic synthesis anological were used the realization of this work.
Date: 1985
Creator: Blanco, Juan Marcos, 1953-
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

Maritime Rites

Description: Recording of Alvin Curran's Maritime Rites.
Date: 1985
Creator: Curran, Alvin S., 1938-
Partner: UNT Music Library

Anamorphées

Description: "Anamorphées" was made entirely from a single instrument (saxophone) of five seconds, processed in computer delayed time. The basic instrumental sequence is presented, isolated before the play for the jury. The use of a reduced original material makes it possible to carry out a real "genetic" work of sound and musical development where each stage of treatment is an opening towards other possible ones. From mutations to successive mutations, the resulting sound objects are diversified, progressively or radically different from the basic model, becoming themselves the starting point of a new tree generation of transformations, then developed and organized in sequence by micro-operations. montages, tiling, brewing ... Some terminal sounds are separated from the basic sequence of a considerable number of transformations (sometimes more than thirty), something unrealizable without technical problems (support) in an analog studio. Just as impossible, carried out traditionally, are the operations brought by certain programs dealing with the temporal order allowing extremely complex micro-assemblies going below the only ones of temporal perception until the organization of whole sequences, making pass the anamorphosis of the detail to the composition. The anamorphosis is also of musical order - to take a very conventional instrumental sequence: legatissimo and rapid chromatic twisting to moult it following very different "phases-states" deviating from the original model by its principles.
Date: 1985
Creator: Racot, Gilles, 1951-
Partner: UNT Music Library

Antiphony IX

Description: Commissioned by the Kansas City Civic Orchestra, Glenn Block, cond.; Premiere: Electronic Music Festival; Kansas City Conservatory of Music, 10.13.85 MS
Date: 1985
Creator: Gaburo, Kenneth
Partner: UNT Music Library

Lament

Description: Lament was composed for BAMB and Radio Clyde and was then part of the selection for the Prix Italia music selection in 1985. Taking into account that the listener could listen to the work by chance, we decided to use "everyday sounds" (which would have more to be immediately recognizable), musical sounds. As much as it appears at first sight anecdotally, the structure and context are musical, which gives rise to a work that can be interpreted on several levels. The linking factor of this process is the notion of time-one of the implicit concerns of all composers (the composition can, after all, be seen as an organization of time-of its mastery-by means of sound) made explicit here. by several "poetic" references: ticking clocks, counting, the river of time, etc ... - all clichés. Lament was made at the Electroacoustic Music Studio of the University of Birmingham, with additional material from the Electroacoustic Music Studio of Newcastle University.
Date: 1985
Creator: Harrison, Jonty, 1952-
Partner: UNT Music Library

Chants Magnétiques

Description: Thoughts come tumbling in, unordered and often without any connection with the composition no which you are working. This was also the case during the time I was composing my Ritournelles for soprano and computer. A flood of material and studies came into existence which could not be fit into my Ritournelles. From out this material resulted in my piece "Chants Magnétiques" on January 20th, 1985 in two hours by writing a command string at a high tempo and reading it into my MIDIM system on the PDP-15 computer. The piece was immediately recorded on 4-track tape and no corrections were later applied. It had its premiere two days later on January 22nd, 1985 at Muziekontrum Vredenburg in Utrecht.
Date: 1985
Creator: Kaegi, Werner 1926-
Partner: UNT Music Library

Reportage sans Image de la Maleza

Description: Recording of Franck Royon Le Mée's Reportage sans Image de la Maleza.
Date: 1985
Creator: Royon Le Mée, Frank 1953-1993
Partner: UNT Music Library

Ogni Pensiero Vola

Description: The starting point of the piece was given by the visit of the "Monsters Park", a grotesque sculpture garden near Viterbo in Italy that was created at the end of the sixteenth century by Pier Francesco Orsini, Duke of Bomarzo. The title of the piece is an inscription engraved on one of the sculptures, a giant monster head with a gaping mouth that is known as "the mouth of the devil" or "the dragon". The inscription seems in resonance with its meaning in a mysterious, inexplicable way and the work can be seen as a musical manifestation of any resonance. Most of the material derives from recorded lyrics: a reading of the three words "ogni pensiero vola". Through the technical study of linear coding analysis, the voice was used to form the timbres of different purely synthetic sounds. "Ogni pensiero vola" deals with the similar evolution from voice to spoken words. Gradually the terms of the title begin to emerge: first, as whispers and then as syllables and finally as choruses resembling songs. As the piece tries to close, the words become more and more intelligible, until the end where they are whispered by the voice, without process of transformation, except the reverb.
Date: 1985
Creator: White, Frances, 1960-
Partner: UNT Music Library

Conversation

Description: This work was composed in 1985. It uses voices recorded in Japan and Thailand, hence the title of "Conversation", although the voices are generally used in a more musical than semantic way. The instruments respond to these voices in different ways during the course of the work, which also gives it a conversational character. This work can be considered as a continuation of "Orchestra" and "Ten Temperaments" in that the image of the sounds resumes the orchestra like a prototype. The recordings of votes were made by Lennart Wretlind.
Date: 1985
Creator: Grippe, Ragnar, 1951-
Partner: UNT Music Library

Rising Tides of Generations Lost

Description: Drawing on women's stories handed down aurally over time, this piece uses the fundamental building blocks of language to tell the story of struggle and intolerance endured by women over centuries. This is one of Bartley's earliest pieces and it possesses the intensity and political motivation found throughout her repertoire of electroacoustic vocal compositions. Rising Tides of Generations Lost was realized at the Electronic Music Studio at McGill University in Montréal in 1985 with the Synclavier Sample-to-Disk system. It was remixed in 1993 at the Luscar Recording Studio of The Banff Centre for the Arts, with engineer Frank Lockwood. Sampled voices include those of Anne Erskine, Wende Bartley, Cathy Herd, Helen Hall, Marguerite Bartley, and Dorothy Young. The piece premired at a GEMS' concert (Group of the Electronic Music Studio) at Pollack Hall in Montréal on April 4th, 1985.
Date: 1985
Creator: Bartley, Wende, 1951-
Partner: UNT Music Library

La Luz

Description: Produced in 1985 in the Studio of the Regional Music Workshop of Lens, this diptych seeks an original use of the UPIC, at a time when the users of the "composing machine of Iannis Xenakis" did not yet have the current means speed calculations, implemented subsequently, in the device. Musically, "The luz" consists of two pieces, "Luz" and "Las doradas manzanas del sol" (the golden apples of the sun). "Luz" is made up of two families of sound sequences: those that approach the noise, producing in the listener an increasing psychological tension according to their repetition, and those that serve as a resolution to the first, melodic and character modal, where some melismatic figures lead the musical discourse and its development. Moreover, "Luz" can be considered as a study of the different modes of intersections, at certain abrupt and surprising moments, and at others, presenting themselves as intermediate passages. A strongly rhythmic section, characterized by serious pulsations with irregular accents in perpetual accelerando, closes the shape of this first piece. This texture is the background on which occurs the recovery of materials already heard in the room. "Las doradas manzanas del sol", for its part, is characterized by a texture of tremoli that compose a thematic melodic gesture, a kind of choir in litany, followed by long sequences of irregular rhythms with some fluctuations in the discourse produced by irruptions sporadic groups in the acute register.
Date: 1985
Creator: Mandolini, Ricardo, 1950-
Partner: UNT Music Library

Estructuras 6502

Description: The work is a theme with variations. The theme is the graphic form of a parable and is developed in three sections in the field of heights on different types of timbres and articulations. A fourth section summarizes the whole with a stretto. This piece was made using a microprocessor 6502 by first calculating numbers representative of the heights and durations that are stored. After, this memory is emptied in real time on a digital analog converter which controls the corresponding parameters on a Sinty_AKS synthesizer.
Date: 1985?
Creator: Callejo, José Luis, 1930-
Partner: UNT Music Library

Page 16

Description: The work was originally composed as part of a large musical project "Soundscape" (soundscape) for the exhibition "Music" at the Noorköping Art Museum in 1982. The exhibition occupied five galleries and included paintings from a number of artists who had been inspired by the music. Some of them started with general impressions of music, others described specific works from Mozart to Coltrane and Glass, and others have done their work by applying musical systems. Some artists like Arnold Schoenberg and the Swedish composer Lars-Gunnar Bodin are more known for their action in the musical field itself. The soundscape project, made in collaboration with Anders Blomqvist for music in each of the 5 galleries mentioned above, was decided at the outset that the music should reflect the specific character of each piece. In one of the galleries - with a very colorful atmosphere - were paintings by Lars-Gunnar Bodin. After some research, I decided for an air of his work "for Jon" that someone had inadvertently whistled near me. This air became the basis of variations by inversion, cusp, transposition, etc ... Since this gallery had a general minimalist character, I also opted for this style. Moreover, the motor and static nature of this kind of music adapted to the listening situation of the walking public. The original motif is "suspended" in the counterpoint figuration which forms the basis for the materials that derive from it and refer to it more freely. Several paintings in this gallery refer to Coltrane and this justifies the use of certain materials.
Date: 1985
Creator: Brunson, William, 1953-
Partner: UNT Music Library

Mora

Description: The tape was created employing John Chowning's FM algorithm, Bill Schottstaedt's FM violin instrument and Wave-Shaping voice instrument, Xavier Serra's Marimba synthesis, Mike McNabb's voice synthesis, and the pluck algorithm developed by David Jaffe based on a string model originated by Alex Strong and Kevin Karplus.
Date: 1985
Creator: Wolman, Amnon, 1955-
Partner: UNT Music Library

Mira

Description: Recording of Michelangelo Lupone's Mira.
Date: 1985
Creator: Lupone, Michelangelo, 1953-
Partner: UNT Music Library

Jardins/Ceremonias

Description: It is a piece that represents a search in the organization of sound elements based on the conception: continuity - discontinuity. The elements are structured mainly by an alternation of static and continuous sequences opposed to rhythmic and changing passages looking for the same time the opposition of those elements. The succession and superposition of these sound complexes start from basic structures, and their developments, combinations and transformations, will create new structures and sequences that contribute to the formal organization of the piece. It won the first Gaudeamus prize in the Netherlands in 1976.
Date: 1985?
Creator: Filippi, Lionel
Partner: UNT Music Library