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Anguish in Lebanon

Description: In this piece, the digitally constructed voices, 13th root of 3.14 tuning and distorted piano all combine to create a sonic field at first curious and finally frightening. It is the composer's intention to bring to mind not only the anguish of interminable war but the ambiguities of life for those whose mother country is so afflicted.
Date: 1985
Creator: Kramer, Gregory, 1952-
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

...Dwelling place of the acts...

Description: Lord Buddha turned his entire body round like an elephant, looked at the town of Vaisali, and uttered these words : O vaisali, this is the last time that I see you. For I an now departing for Nirvana ! At Gaya, at the time when I won enlightenment, I got rid of the causes of becoming, which are nothing but a gang of harmful vipers ; now the hour comes near when I get rid also of this body, the dwelling place of the acts accumulated in the past. Now that at last this body, which harbours so much ill, is on its way out; now that at last the frightful dangers of becoming are about to be extinct; now that at last I emerge from the vast and endless suffering-is that the time for you to grieve ? So spoke the sage of the Shakya tribe, and the thunder of his voice contrasted strangely with the deep calm with which he faced his departure. Each of us has our own dwelling place of the acts, and each of us can walk the path away from this dwelling place. This piece is an aural analog of such an action.
Date: 1985
Creator: Wraggett, Wes Richard 1953-
Partner: UNT Music Library

Lied de Noun

Description: Recording of Jean-François Gaël's Lied de Noun.
Date: 1985
Creator: Gaël, J.-F. (Jean-François)
Partner: UNT Music Library

Adagio

Description: Adagio is, as the title suggests, cast very much in the tradition of the late-Romantic symphonic slow movement, with its carefully measured pacing combined with a dramatic use of weight and drive. In particular, Adagio has a special relationship with the slow movements of Mahler's symphonies, this relationship being present at different levels and to different degrees at various points in the piece, ranging from the use of generally expressive gestures to explicit 'quotations' (particularly from the Andante of the Sixth Symphony). Perhaps the most easily perceived Mahlerian trait in Adagio is the use of randomly struck cowbells which permeate the Sixth and Seventh Symphonies. Adagio was composed in the summer of 1985 in the Electroacoustic Music Studios of the University of Birmingham. It won the EMAS/PRS prize in 1986.
Date: 1985
Creator: Lewis, Andrew, 1963-
Partner: UNT Music Library

The Dualism

Description: This composition is the second part of tetralogy "Leters" which was composed in the honor of St. Ciril and Method, a founders of Slavs alphabet. The tetralogy is based on works of prominent figures in late racy from the nine century up to date and his point of view on different problems of human existence. Trough poetry and letters of the most outstanding figure in Yugoslav literature of 19th century P.P. NJEGOS, bishop, governor, Worior and poet, "The Dualism" treats relations of human being and outer world. The composition has three sections. The first one, which is built on parts of Njegos philosophical poem Ç The Light of Microcosmos È, speaks about attempt of ordinary man to explain eternal ideas, haven and God himself and impossibility of achieving that. The second one which uses Nj egos Letters to Turks, for a long time enemies, speaks about readiness of human to fight for freedom and will to set a piece in the name of saving hit only own but also lives of enemies. Final section which has also versus from the same poem brings conclusion, about necessity of way living together of all things and opposites in the world in the favour of universal harmony. "Yes, spark gave birth to the Light Ocean was made of drops and the glory of the Lord is great within mortal and immortal. Electronic has been treated as integrated part of performing ensemble/flute, trumpet, cello, piano, percussion, actor and female choir/and has primarily function of extension of choir sound and "connection between earth and haven".
Date: 1985
Creator: Zarko, Mirkovic, 1952-
Partner: UNT Music Library

Dialogue

Description: Creation at the castle of Clermont in August 85. This piece was the subject of a video production in collaboration with Léon DIAZ-RONDA, engraver and painter (Title: "Monologue Two"). Dialogue is divided into 5 movements: - DICTATURE - STRESS - CHARM - SENSUALITY - LEAK Each movement illustrates a scene that relates to me a situation of dialogue (communication). Formally, two sound materials are used in each of the five movements. One of these two materials is then developed in the following movement (modulation principle) added to a new material. The five movements are constructed of this same method.
Date: 1985
Creator: Donzel-Gargand, Bernard, 1945-
Partner: UNT Music Library

Cómo es Lily?

Description: Lily, how is she? She is sweet, she is cute ... very delicate. Melancholy sometimes: she is ticklish Irritable ... she lets herself die, burned by the flames.
Date: 1985
Creator: Kusnir, Eduardo, 1939-
Partner: UNT Music Library

Thus Spake Bosch

Description: "Multiplicity of Unity" or "Unity of Multiplicity" are pure illusions and mystifications. Nothing relates to anything, nothing can be deduced from anything, there are no causes nor effects. Neither there is a world of ideas, monads and essence, therefore each reduction, even eidetic, is just a replacement of objects-- or better --words which seem to be especially developed for this useless game. Anything may precede anything, anything may follow anything, and there is nothing which might not coexist with anything else. The ordering function of time is another illusion and oversimplification. The same applies to necessity. After all, "impossibility" is a common thing, indeed. There remains one question, however: what does the world seen from the top of Palace of Culture and Science in Warsaw have in common with the world seen from the top of Empire State Building? Nothing. And this is a right answer. I can not miss an opportunity of expressing my deepest gratitude to John Chowning for his human voice synthesis, to David Jaffe for his pluck instruments synthesis, to Bill Schottstaedt for his strings and for myself for the remainder. Thus Spake Bosch was composed in March 1985, premiered in Warsaw on April 11, 1985 and it was awarded the Second Prize at the 1985 NEWCOMP International Competition in Boston. Stanislaw Krupowicz
Date: 1985
Creator: Krupowicz, Stanisław, 1952-
Partner: UNT Music Library

The Dreams of J. Wyx

Description: This piece is part of a cycle of eight pieces. J.M. Wyx is a fictional figure, suggesting a fanciful atmosphere of an ancient world and historical instruments. Its form is a large ABA form. Apart from its composed parts, the piece offers a possibility of improvisation for the solo instrument, the hurdy-gurdy.
Date: 1985?
Creator: Márta, István
Partner: UNT Music Library

Labyrinth

Description: This work is based on a verse declaimed in Latin of "Ovid's Metamorphoses" describing "the Daedalus" of the great labyrinth constructed as the home of the Minotaur. The verse says "The eyes are lost in Daedalus because of the wandering in the various ways". This is the problem of illusion due to the divergence and the crossing of paths, where lines of development and progression on which is based the structure of musical treatments of "Labyrinth". The purpose of this musical "Labyrinth" is to engage and interact the listener's attention rather than lose it. Produced at EMS Studio and Queen's University Kingston, February-May 1985. Work steps: May-June 84 sound laboratory from the British Medical Research Council of Cambridge (UK) with the digital sound editing system used to create a variety, text transformation.
Date: 1985
Creator: Keane, David, 1943-2017
Partner: UNT Music Library

Tide '85

Description: The work is, like my previous compositions, based on the preference I have for recurring treatments. This sounds complicated but is actually very simple. It simply means that a sound and its derivatives can be, if desired, recorded one on the other in a single gesture, so that the sound structure becomes more or less closed. This depends on the intervention of the composer. The derived sounds giving the coloring; it can happen quickly or slowly. For "Tide" I chose "slowly" because the tide is also a very slow process that takes about six and a half hours to reach completion. In order not to tire the listener's patience too much, I reduced "Tide" to about 17'30". My preference for recurring sounds comes from the fact that the composer has a direct influence on the material that is so stimulated in terms of its capacity of expression, another advantage, immediately apparent when listening, is that the sound gains acoustically and away from the world from which it came, the electronic sound.
Date: 1985
Creator: Vink, Jaap, 1930-
Partner: UNT Music Library

Jubilum

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

Chromatonal

Description: "Chromatonal" is an exploration of the twelve intervals in the tempered scale. The music contains twelve sections, each of increasing length - the first is 10 seconds, the second is 20, the third is 30, etc. Each section concentrates on a particular interval and is punctuated by a "spatial" sound. The sections alternate between melodic and harmonic textures. Pitch classes are devised up into two groups as follows: Group I – a-flat(8), g-flat(6), b-flat(10), d(2), d-flat(1); Group II – e-flat(3), a(9), e(4), f(5), c(0). The sections alternate their focus between both groups with Group I being harmonic and Group II being melodic, however, pitches from each group are used for harmonic purposes in all sections. The pitch class dominates both melodic and harmonic content. Therefore, the first section is harmonic and based on minor sixths, the second is melodic and based on minor thirds (and so on …). Since there is no harmonic movement within sections, the rhythmic complexity increases to produce a sense of forward motion. As the music becomes more rhythmic, phrases become more jagged and the sound less reflective. The creation of this piece would not have been possible without the cooperation of the staff at CCRMA (Stanford University) and the financial support from the Rockefeller foundation. My sincere gratitude goes out to those people.
Date: 1985
Creator: Malouf, Frederick L., 1954-
Partner: UNT Music Library

Subterranean Network

Description: Subterranean Network, commissioned by Hartt School of Music, is an electronic work which seeks to evoke a sense of the experience of the tunnel fighting in Cu Chi during the Vietnam War. These tunnels, from which the Viet Cong fought much of the war, were dark, narrow, poorly ventilated hell holes, filled with booby traps and inconceivable real and psychological terrors which plagued the American soldiers, known as tunnel rats, whose duty it was to explore them. These men, if not killed by booby traps, snakes, spiders or scorpions, were in constant threat of ambush in the tunnels.
Date: 1985
Creator: Payne, Maggi
Partner: UNT Music Library

Music for Viola, Cello, and Tape

Description: Music for Viola, Cello, and Tape was written and premiered in Paris in 1985. This work brings together two extremely different aspects of my musical experience: improvisational music and music involving computers. These two musical domains, representing intuition and rationale - opposites yet complements - hold a great deal of interest for me. This trio explores the interactions among three soloists, one being a tape of computer-generated sounds; in which no part plays a secondary role. The two-channel tape, was composed at the Institute of Sonology, Utrecht, The Netherlands. A computer, using stochastic procedures, was involved on every level of the composing process, from sound-synthesis algorithms to higher-level compositional decision-making. All programs were written by the composer in an assembly or high-level language and used in a real-time context. The compositional algorithm is based on an elaboration of Brownian movement, also known as a random walk. A tendency controlling pitch and duration of sound events delineates overall formal characteristics of the tape. Duration and pitch are tied parameters during the first section. At a certain point in the development of the tendency the two parameters, pitch and duration, become independent of one another. In time, the duration/pitch tendency becomes clearly directional in nature and the conclusion of the tendency signals the end of the piece.
Date: 1985
Creator: Lippe, Cort, 1953-
Partner: UNT Music Library

Composition 16

Description: Recording of Takehito Shimazu's Composition 16.
Date: 1985
Creator: Shimazu, Takehito, 1949-
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

Estudio Electrónico II

Description: Composed in the Laboratory of Investigation and Musical Production (LIPM) of the Recoleta Cultural Center, Buenos Aires, Argentina. Was composed with a Synclavier II. The original mixture was composed in four channels. The sonorous material was elaborated from 34 basic timbres generated from sinusoidal sounds, harmonic, inharmonic spectrum or colored noise bands. The different structures happen one after another, without stopping.
Date: 1985
Creator: Rapp, Jorge, 1946-
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

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

Worship

Description: At nightfall, the faithful would gather in a hut or a clearing in the woods. The ceremony was lit by hundreds of candles all around the congregation. Its introductory stage, which usually lasted quite a long time, was devoted to contemplation and the invocation of a higher power. The initiates form a ring, and under the influence of protracted simulation through prayer and wild wailing achieve a state of religious ecstasy, which grips even potential proselytes. Big strong men break into tears, women faint or become hysterical. The state of ecstasy and possession which occurs is necessary to the "divine flux". The excitation and tension now reach their peak in a state of acute ecstasy, followed by total collapse. One of the physical symptoms exhibited by potential proselytes is that they fall unconscious and can remain in that state for anything from an hour or so to one to two days. The person so affected remains absolutely motionless and totally unaware of surrounding events. On recovering they claim that they have been "converted" and bear an expression which literally radiates joy.
Date: 1985
Creator: Lindblad, Rune, 1923-1991
Partner: UNT Music Library

L'Apocalypse

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

Le Voyage de Cyrano

Description: Commissioned by the company "Mafilm" of Budapest, and realized in the Electroacoustic studio of the Hungarian Radiodiffusion, the work was conceived as music for an imaginary film: the composer would be represented under the features of a character who, refusing the demystification imposed by modern science and technology, would travel in the moon and the sun, his old suitcase full of real anxieties and false sonorous phantasies, which will be, moreover, damaged and distorted during the course inconvenient. An exclusively "concrete" basic material (a few syllables sung on a fixed pitch, a few piano sounds, two trumpet notes, three notes of tuba, a sound) was processed according to some simple analog methods (speed variation, editing, mixing) and also using two digital devices: a harmonizer and the small Musix 81 processing system driven by a Sinclair ZX81.
Date: 1985
Creator: Xanthoudakēs, Charēs
Partner: UNT Music Library