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Cantus

Description: After my first experiences in musique concrète, and even more so, when I started using the computer for music composition, I wanted to be able to compose the sound material , as I composed the structures when I wrote "notes" for instrumentalists. Our first researches, from 1976 (by means of a microprocessor that we had procured for ourselves), were done in this direction: to put the sound matter in memory and to fragment it so that it became "reflowable". The microprocessor of this era providing little computational power, it was necessary to imagine sound-efficient methods, but inexpensive in calculation - and we then formulated and exploited the method of "zero crossing". Indeed, by sharing the sound in small isolated waveforms, each having the property to start and end on the zero axis (energy equal to 0 volts, corresponding to the rest position of the speaker's diaphragm) ), it is possible to glue these shapes together in any order (so to compose from a given set of elements) without losing too much of the sound quality (spectral content) of each element.
Date: 1985
Creator: Boesch, Rainer 1938-2014
Partner: UNT Music Library

Cracovie mon amour

Description: I is the opening part of my Polish trilogy, an electronic romance for synthesizers and loudspeakers. It is meant to be performed outside in the nature giving thus the surrounding town and landscape architecture to modify its original instrumental voices. One of its most beautiful performances it received in Matera the south Italy where it«s voices were echoing behind the cabyon splitting the town. Later this piece often has been used as a small romantic "opening the ears" entry after which the strong voices of war performance made by ProTon Sonic Art group have made extremely strong influence. "Cracovie mon amour, Cracow mon amour" (comparison; Alan Resnais: Hiroshima, mon amour) is dedicated to my wife Agnieszka. Realized partly at Cracow Music Academy«s electronic music studio partly in YLE Experimental Studio, Helsinki.
Date: 1985
Creator: Sirén, Pekka, 1946-
Partner: UNT Music Library

JubJub

Description: The title of the composition is taken from a line by Cicero, "toto pectorum tremens" ("the whole breast trembling"). The main musical ideas in this piece are all related to the act of trembling as a response to some basic emotional state such as anticipation, fear, panic, exhaustion, etc. in order to expand the timbral palette of the pitched material, I have incorporated into the composition synthetic, unpitched sounds such as wind, breathing, and large, struck sheets of metal. During the course of the work the Bach choral melody "Was bist du doch, o Seele, so betrubet" appears; the harmonization is mine and the choral setting is intentionally left incomplete. This composition was realized at CCRMA under an "artist-in-residence" grant from the Rockefeller Foundation. The composer would like to thank Bill Schottstaedt for the use of his FM instrument, which was used to generate most of the sounds in this piece. The composer would like to acknowledge Michael McNabb for the use of his AM voice synthesis instrument.
Date: 1985
Creator: Taube, Heinrich, 1953-
Partner: UNT Music Library

Next pièce no. 1

Description: This piece was made at the IPEM studios in Ghent on November 1985. This work has a clear and noticeable construction, based on the proportion 2:3:5. The total duration is divided into three parts according to this proportion: the parts' durations are 3', 2', and 3'. These parts are subdivided according the same proportions, taking into account the possible symmetries starting from 2:3:5. The sounds used are similar: each sound is deduced from the original sound. The sounds are placed in polyphony. In its duration, each sound is divided into three or four parts, which are placed in specific places in the total symmetry of the work. This approach provokes a second level of polyphony: polyphony in the fragment itself. The last appearance of a sound, that is to say, the disappearance of a sound of the work, is always announced by a diminuendo, a descending glissando, a slowing down in the rhythm of the sound, the sound, which becomes smooth, etc. This work may be played in combination with Next pièce no. 2 for solo tuba.
Date: 1985
Creator: Knockaert, Yves, 1954-
Partner: UNT Music Library

One for the Ladies – Unicorns-Magicats-Lovers

Description: There were several ladies involved with this work: My second daughter was born during its composition and my first daughter introduced me to the Unicorns and Magicats which compromise the first two sections of the work. Each of the three overlapping sections: Unicorns, Magicats and Lovers, were all pictured in my mind and feminine in nature. The composition makes use of an abundance of female "voice-like" timbres and lastly, but most important, the work is composed for and dedicated to the dancer Elizabeth Arns. As stated, the composition is divided into three overlapping or eliding sections, each with its own ambiance and catalog of music gestures. The transformations from Unicorns to Magicats to Lovers is obvious as the music moves from the dynamic and playful to the mischevious (and perhaps dangerous) to the serene. The work was realized with Yamaha DX/TX digital sound chips and digital signal processor, both under the control of a personal computer. The composition was programmed into the language MASC (Meta-Language for Adaptive Synthesis and Control). The "putting together" of the work first involved the creation of an orchestra of instruments – a total of three or four for each section. Next a series of gestures or musical shapes were programmed and assigned various melodic and harmonic vocabularies. By pure experimentation a common harmonic and gestural language was developed and assigned to various instruments. The actual compositional process was then much like the creation of a collage or painting which involved a process of improvising with the computer until the various shapes and colors were in the right spot to appease the programmatic formal scheme
Date: 1985
Creator: Strange, Allen
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

Tense Test

Description: Recording of John Edward Cousins' Tense Test.
Date: 1985
Creator: Cousins, John Edward, 1943-
Partner: UNT Music Library

Santa Maria

Description: The original tape was supposed to be the tape for a piece for a group of metal instruments and a percussionist to be premiered on the occasion of the VII Centenary of the Santa Maria del Mar basilica of Barcelona, in order to take advantage of the acoustical peculiarities of this gothic church. The piece was reprocessed for its first performance at the Alicante Festival 1985. The original material consisted in trumpet samples played by Marti Colomer plus electronic and concrete sounds which accentuate the sound structure of the piece.
Date: 1985
Creator: Lewin-Richter, Andrés, 1937-
Partner: UNT Music Library

Trivial Pursuits

Description: Recording of John F. Paul's Trivial Pursuits.
Date: 1985
Creator: Paul, John F., 1955-
Partner: UNT Music Library

Metabyzantinirikon

Description: METABYZANTINIRIKON (1985), the variant for violin and tape, is approaching the superposed musical times and spaces, which are in an ecstatic, hieratic state. This state results from the “betrothal” of times and l i n e a r spaces on the tape (in a synthesis, a symbiosis of the discontinuously agitated time, out of the medium register, with the slow one, in a continuous evolution, out of the deep and high registers) with the s p i r a l (open circular) ones of the violin, facing the angelic, celestial and protective a t e m p o r a l i t y (located on the tape in the super sharp zone and represented by crickets’ sounds). As for the spiraled space-temporalities, they succeed each other in the following order: first of all appears the spiral of s n a i l, which realizes the gradual entrance from a heathen extrabyzantine musical world, with several geographic and historic poles (Asia, Africa, Australia and Modern Europe) towards a Byzantine one, aiming a gravity centre D, which exerts gradually its attraction force and spell. Then, the spiral of s h e l l unfolds itself (with gravitational evolution in the interior of Byzantine universe and cosmos). At last (after a modulation of the gravitation centre G), appears the spiral of e g g , offering the exit out of the paradisiacal Byzantine sphere and state (with aspects of failure, of a dramatic shipwreck) towards some extrabyzantine cultural and natural zones: hostile, malefic, aggressive. The metabyzantine “look” is realized in the music also through an “embrace” of c u l t u r e (simultaneous songs of sacral and profane type) with n a t u r e (containing sounds from the world of animals, birds and, especially, of insects), which prefigures ...
Date: 1985
Creator: Nemescu, Octavian
Partner: UNT Music Library

Ep'85

Description: As the title suggests, Ep '85, a sort of contemporary epic poem, is a work composed using original or prepared elements of traditional games, songs, and lyrics as well as various "models". 'pure electronics' which, in my opinion, is comparable to some kind of traditional music. The work deals with a "universal" epic thought and does not need translation of this lyricism despite their use. However, the composition includes both important parts and lyric episodes, just as in the epic poems of the past.
Date: 1985
Creator: Mirković, Žarko (1952-)
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

Kullervo (Tonton)

Description: Parts Kullervon syntymä - Tonton's birth 4.00 min. Kullervon sotaanlähtö - Tonton goes to war 4.03 min. Kullervo orjuudessa- Tonton as a slave 3.40 min. Leivän syönti - emännän tappo - Eating bread and killing the mistress of the house 8.27 min. Kotona - At home 6.06 min. Siskon raiskaus - Raping of sister 5.00 min.
Date: 1985
Creator: Sirén, Pekka
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

Perhaps, at Last, Some Such Hours Passed

Description: When I was asked to write program notes, which I dislike, this is what I wrote, it still has no relevance to the piece, but it still says something... This piece is based around the number seven, being a lucky number as well as not belonging to the Fibonacci series. All decisions in this piece revolve around this number. For example, all the work on the piece was done after 7 p.m. When it became late this relationship became obscure. The piece was created employing John Chowning's FM algorithm, Bill Schottstaedt's FM violin instrument and Wave-Shaping voice instrument, Xavier Serra's Marimba synthesis.
Date: 1985
Creator: Wolman, Amnon, 1955-
Partner: UNT Music Library

Revolution 76.01

Description: Halley's Comet was close to the earth in 1985. It's period is 76.01 years. Computer controlled 6 analog synthesizers.
Date: 1985
Creator: Morita, Shinʼichi, 1948-
Partner: UNT Music Library

Déjà vu

Description: Déjà vu was written in 1958 in collaboration with Vladan Radovanovic. The work is inspired by the European Music Year. It is based on variations of B_A_C_H + S_C_A_(rlatti) + H (än) DE (1) motives and quotations from three works by Bach, Scarlatti and Händel. To recognize something as already experienced, in other words déjà vu as psychological term, is symbolically expressed through the author's music, passages and strata from the very composition, through the self quotation, and remindings of natural sounds as well.
Date: 1985
Creator: Hofman, Srđan, 1944-
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

Old Style Pieces

Description: The concrete sounds (human voices) were recorded in France and Poland. Electronic sounds were added later during realization of this piece at the Experimental Studio of Polish Radio in Warsaw. The premiere performance took place at the NON-MEDITATIVE MUSIC concert in Art Gallery DZIEKANKA in Warsaw, 20.12.1985.
Date: 1985
Creator: Knittel, Krzysztof, 1947-
Partner: UNT Music Library

Luminescence

Description: The basic idea for Luminescence is revealed by the opening sound, an F above middle C, which is modified by a filter that moves from a point above the second harmonic to about the sixth harmonic and back with a speed that starts slowly (at zero), increases up to a moderate rate of speed, and then decreases to the original point. This creates a "shimmering" effect that suggested the title to me. Each tone in the composition undergoes similar spectral changes, produced by moving a filter from one point in the spectrum to another, and back, in a varying periodic motion. The resulting effects sound different depending on where in the overtone spectrum the change occurs. There is always an interaction between individual overtones, which can be heard as separate tones, and both other overtones and the fundamental frequencies of other pitches in the same musical context. The rates at which the spectral changes occur are always in the subsonic range, and they are several octaves (nine or ten) below the fundamental frequencies of the notes on which they occur. The frequency continuum is thus structured on multiple levels: subsonically, in the rates of change of filters; in the mid-range, in the fundamental frequencies that constitute the composition's pitch structure; and in the high range, in the individual overtones that are emphasized in a periodic manner. The piece is in six sections, each one evolving into the next. The opening states four all-interval tetrachords in four octaves that give the basic chords of the piece, and these are embedded in much of the remaining sections. The chords in this passage are a transposition of the voices. The second section begins with a series of rapidly-modulated pentachords that are each stated in five descending octaves. These are followed by a passage ...
Date: 1985
Creator: Howe, Hubert S., Jr., 1942-
Partner: UNT Music Library

Mutacion II

Description: The basic idea of the piece consists of transformations of various sound structures made of periodic rhythms and delimited heights and others built with "free" rhythms and preferentially undetermined heights. From the middle of the room and then one of these variable-pitch and indeterminate sound structures takes on importance and on the end supports development. This criterion between fixed and indeterminate pulsation and height is also followed in the spatial organization. Several sound structures are fixed at certain points of space and others move around according to pre-established patterns. Mutacion II is produced with Synclavier II.
Date: 1985
Creator: Kröpfl, Francisco, 1931-
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

Dans le jardin

Description: Recording of José Vicente Asuar's Dans le jardin.
Date: 1985
Creator: Asuar, José Vicente, 1933-
Partner: UNT Music Library

Maikafer Flieg

Description: In my composition "cockchafer, fly", I used some historical sound documents as a starting point and to allow associations of ideas for a musical development throughout the piece. The title of the composition is drawn from a children's song whose text expresses the sad situation after the first and the second world wars: "Cockchafer, fly, your father is the war, your mom is in Pom'ranie, Pomerania is destroyed by the flames, Cockchafer, fly. " Towards the end of the composition, this song will appear again with another text: "Sleep, my little sleep, outside there are two sheep, one black and one white, and if you do not want to sleep black will come and bite you. " In addition, I used a very famous Lale Anderson song: "Lili Marleen", in correspondence, in collage with an old student song: "boy, forward, even if it is for the last time". With these two quotes, I want to show how the spirits of men could be manipulated. These quotes are for me only a starting point that allows me to reflect and develop my personal musical point of view. At the end of the composition, I take the sentence of a poet: "a wind is rising, try to live." This is an indication of the current situation and expresses a sense of hope, cautious hope for the world.
Date: 1985
Creator: Voigtländer, Lothar, 1943-
Partner: UNT Music Library