139 Matching Results

Search Results

Note: All results matching your query require you to be a member of the UNT Community (you must be on campus or login with university credentials for access).

Pour en Finir avec le Jugement de Dieu

Description: Recording of Alain Besset and Valérie Gonzalez's Pour en Finir avec le Jugement de Dieu.
Date: 1985
Creator: Besset, Alain, 1960- & Gonzalez, Valérie, 1961-
Partner: UNT Music Library

The Other Shape

Description: The Other Shape is largely based on contradictions. Between the short and the long, for example. The short sound and the resonant. The dry and the reverberated, or the lengthened. The continuity of silence or holding, opposed to the brutal and ephemeral explosion of percussive sounds. As in many other plays, this dialectic has led me to a typically segmented and punctuated, simple and bare form. For its realization, I had recourse to many programs of composition, acting either at the level of whole sections, the setting up of frameworks, the development of rhythmic patterns, the detailed specification of stochastic structures, or even of the arrangement of the components of certain complex sounds and textures of the band, and the direct synthesis of some sounds. In this piece, the percussionist and the band are in situation essentially complementary, in a naturally concerting spirit. The band develops and amplifies the world of percussion: rhythmic and spatial extensions and multiplications, of timbres, durations and resonances, establishing relationships of convergence, dialogue or opposition. It remains very connected to the instrumental domain, but sometimes, when it ventures the most in its role, overflows towards other sound regions and asserts its independence. The vast majority of the sounds in the band come from the instrumental ensemble held by the percussionist. They are presented "nature" or variously transformed (timbre colorings, dynamic modulations, lengthening, reverberations, etc.). Once, the band intervenes absolutely alone, to hear brutal energy explosions that resolve in rhythms. These sounds, foreign to the instrumental universe dominating the rest of the work, however, affirm the same essences: explosive shock, resonance, rhythm. A second extra-instrumental element also intervenes on the band, this time for its semantic content. This is an excerpt from the "Magic Flute" of Mozart, libretto by Emanuel Schikaneder: We walk through the sound ...
Date: 1985
Creator: Lorrain, Denis, 1948-
Partner: UNT Music Library

Fleeting Images

Description: Composed in December 1985, Fleeting Images uses the POD system for computer synthesis and composition developed by Barry Truax at Simon Fraser University in Vancouver. Environmental sound images based on real recorded experiences develop during the piece. This active, rhythmic textures are suggestive of the dynamism of nature - birds, insects and the bubbling energy of geothermal activity while the long sustained sounds conjure up images of waves crashing on rocky coastline mixed with the humming of telephone wires across vast open plains. Such extra-musical aspects however are merely stimuli to the composer's imagination and these ideas are articulated in a wide variety of textures. The contrast of noise-like with pure timbres is evident as is the "joie de vivre" aspect of the piece heard in the energetic, dance-like rhythmic sections, the pitches and durations of which were chosen by controlled random processes afforded by the versatile POD system.
Date: 1985
Creator: Rimmer, John, 1939-
Partner: UNT Music Library

Quina

Description: Recording of Josep Mestres i Quadreny's Quina.
Date: 1985?
Creator: Mestres i Quadreny, Josep
Partner: UNT Music Library

Mare Imbrium

Description: Recording of Jan Oleszkowicz's Mare Imbrium
Date: 1985
Creator: Oleszkowicz, Jan
Partner: UNT Music Library

Viaggio nel Mondo degli Insetti

Description: Recording on Andrea Libretti's Viaggio nel Mondo degli Insetti.
Date: 1985
Creator: Libretti, Andrea
Partner: UNT Music Library

Falling of Leaves Makes Trees Invisible

Description: This composition from the composer's early period is comprised of the soloist's part on the harpsichord, women’s choir, chamber ensemble of a quite unusual cast and electronically processed concrete and synthesized sound entities. On its symbolical level and in its dramaturgical concept, the rule of the dark/the rule of the evil forces and the fear of cataclysm prevail. The composer found his initial creative impulse in Cage’s (John Milton Cage (September 5, 1912–August 12, 1992)) sentence Falling Leaves Makes Trees Visible that in apotheosic sense represents the prime motive of 20th century structuralism. The authors resistance to the mentioned sentence is proved in the essential difference in the message – his work conveys that entities without distinctive aesthetic attributes of beautiful or ugly do not communicate. The crucial modification of the thesis results in the message expressed in the title of the composition. According to its subjective definition it can predict the future past/ the future end / future death /future expiry/passing away (maybe even terminal). The composition is realised in the Radio Beograd electronic studio.
Date: 1985
Creator: Šijanec, Marjan 1950-
Partner: UNT Music Library

Elektronka Meditasijo

Description: The piece is built on a temperate tonal system of 12 fragments that play the role of a kind of model / model of music. By applying the techniques of collage or subtle modification and confrontations between the 12 mentioned fragments, a polyphonic musical structure has been created. The electronic recording (the synth-100) was used like all other sounds respecting its own specificities.
Date: 1985
Creator: Radić, Dušan (1929-2010‏)
Partner: UNT Music Library

Before the Sea of Glass

Description: The title "Before the Sea of ​​Glass" refers to a scene described by the Apostle John in his revelations. Having reached Paradise, he sees a throne surrounded by a rainbow from which flashes, rumblings, and thundering sounds start. Around the throne there were twenty-four old men in white, four strange winged creatures covered with eyes, and angels in great numbers. Each in turn worshiped the one seated on the throne. A myriad of diverse creatures united in the same act of worship: a scene at once majestic and sublimely peaceful. And in front of the throne in the midst of this adoration is "what looks like a sea of ​​glass, clear as crystal". The music is based on three types of material: a buzzing of the strings, melodic circles derived from the strings and bell-shaped bell tones in contrast. They were all produced on the EMS 100 synthesizer. The buzzing between imperceptibly through a series of inversions and varied spaces, to evolve into focal point of the climax. The melodic circles are formed by a "sweeping" filter that illuminates the harmonics of the buzz. United by a common source but distinguished by different rhythmic times and patterns, they intertwine each other, giving the music a melodic circles and movements of bells are governed by a principle. Each is repeated three times during the work, each repetition being different in a certain way, thus resulting from the micro-ternary forms between the repetitions themselves.
Date: 1985
Creator: Paul, John F., 1955-
Partner: UNT Music Library

Canales

Description: For four channel computer synthesised tape. This is a stereo version. This work was composed at CCRMA (1985), Stanford University, using the Samson Box digital synthesizer and the programs to control it written by Bill Schottstead. The structure of "Canales" results from the combination of opposite aspects of rhythm, pitch and timbre such as rhythmic/arhythmic, consonant/dissonant and harmonic/inharmonic. Rhythms and pitches were selected with regard to recent theories in psychoacoustics (Fraisse, Plomp, Rasch and others). Timbres were synthesized using frequency-modulation techniques. All variations and combinations of parameters were carefully controlled through time in order to get a maximum of variety and richness. Programs were written to allow the computer to amplify my musical ideas and even my imagination. The title, which means "canals", refers to my work of "canalizing" the parameter stream.
Date: 1985
Creator: Núñez, Adolfo 1954-
Partner: UNT Music Library

Frost

Description: This piece is a French creation, made in 1985. It is a stage music for the play "Ibsen" by John Gabriel Borkmann, act 4: winter landscape in the relationship of men ...
Date: 1985
Creator: Egger, Peter, 1954-
Partner: UNT Music Library

Electric Rags

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

Luz Caterpilar

Description: In writing this piece for piano and tape, I have intended to articulate a process of transformation similar to that which constitutes the life cycle of lepidopterae (butterflies and moths). Just as the caterpillar stage of this insects represents the longest span in the cycle, so does my works concentrate on a gradual assembling (by both instruments) of a number of segmental rhythmic motives into distinct sound objects, which form - as it were- the "larvae" of the piece. The rhythmic process is further expanded by the material on tape by transforming the attacks and envelopes of the reiterated sound objects on the piano, revealing these at their different phases or "instars", before being completely encapsulated in the second tape solo. New timbre are introduced in this "chrysalis" section which culminates in the breakdown and regrouping of all rhythmic and timbale material and its transformation into a final polyrhythmic passage which quickly dies away. The sound sources for the piece are mainly piano, crystal and metal sounds processed on a Fairlight CMI. Other sounds present (FM) were created on a TX816 Synthesiser at Crew Studio in London. The tape portion was realised at the City University Electro-Acoustic Music Studios in London. The work was commissioned by the Park Lane Group and pianist Simon Lebens with funds provided by the Arts Council of Great Britain.
Date: 1985
Creator: Álvarez, Javier, 1956-
Partner: UNT Music Library

Alternances

Description: "Alternances" for violin, clarinet, piano, percussion, cello and tape was written in 1985, the electroacoustic effects being made in the studio of Romanian Radio-Television. The room consists of seven sections, including sections 2, 4 and 6 on tape. The 6th section on tape and "life" is the recurrence of the second section, of the same existing correspondence between sections 1 and 7, 3 and 4. The dominant idea of ​​the work is that of the imbsication of parallel music, with particular character and evolution. The music "life" is transformational, while that recorded in advance is non-transformational and has the appearance of a sound plasma; the first is discontinuous and the second - continuous. From the expressive point of view, the sounds "life" suggest belonging to the world of appearances; on the contrary, the sounds recorded on tape suggest a world of essences, permanence.
Date: 1985
Creator: Iorgulescu, Adrian
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

White Nights

Description: The source material for White Night consists of digital delay processing of spoken names or portions of names of fellow artists. These fragments set up micro-rhythms which interlock, then slowly shift phase. Because the source fragments are essentially static in regard to texture, pitch and timbre, the composition is built on subtle rhythmic interactions among combinations of fragments, with amplitude and density determining the overall structure. White Night is a french expression for a sleepless night of the type characterized by the mind's relentless repetition of thoughts.
Date: 1985
Creator: Payne, Maggi
Partner: UNT Music Library

An Island of Tears

Description: Recording of Jonathan Berger's An Island of Tears.
Date: 1985
Creator: Berger, Jonathan, 1954-
Partner: UNT Music Library

Corale quasi una fantasia

Description: "Corale quasi une fantasia" (or more correctly "Fantasia quasi une corale") was composed in July 1985 at the Electronic Music Studio in Cologne. My goal was less to compose a "work" or a "piece", than to do ten minutes that I would like, and if possible that you would like too.
Date: 1985
Creator: Moschos, Konstantinos, 1959-
Partner: UNT Music Library

Paysages PC

Description: If the music of the past was characterized by the contest between consonance and dissonance, the music of the present day is a contest between sound and noise. This percussion piece is located precisely in this intermedia area. The instrumentation is largely metallic, centering on gongs (Ching, Tching Lwo, Feng Lwo etc.) completed by a marimba. Structurally the piece develops from points (isolated, in varying density) by way of lines (aleatory distribution of glissando cymbals) to a surface. The pulsations and rotations of the steel drums are followed by contrast with a flexatone improvisation, leading to a renewed pulsation, with the marimba taking a virtuoso part. The work was first performed during the German Percussion Symposium Nürnberg 1986.
Date: 1985
Creator: Jentzsch, Wilfried
Partner: UNT Music Library

Mierenburg Poème

Description: A place created in ourselves by means of the fiction of a literary description that can be visited by means of the techniques to describe and tell it.
Date: 1985?
Creator: Lang, Bernhard, 1957- & Musil, Wolfgang, 1958-
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

Lusic

Description: Produced in 1985 at the Gennevilliers School of Music (France). Lusic is a fairly fast, dynamic, very exteriorized work. As the title might suggest, it is a playful attitude to sounds and music that has been the creative engine of the work. The choice of morphologies and sound dynamics took place on an extremely wide range, ranging from very long frames to very slow variations, up to very small acute shocks, with many intermediaries. which allows a great variety of energies and speed. As for the timbres and the heights, it is the brilliance to see the stridence which was sought, as well as the homogeneity to obtain a rich and compact orchestration, evolutive and unitary from one end to the other of the piece.
Date: 1985
Creator: Séchet, Christophe
Partner: UNT Music Library