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Adojio for Upic

Description: Recording of Georgiĭ Dmitriev's Adojio for Upic.
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Date: 1990?
Creator: Dmitriev, Georgiĭ
Partner: UNT Music Library

...Et ainsi de suite...

Description: Recording of Jonty Harrison's ...Et ainsi de suite...
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Date: 1990
Creator: Harrison, Jonty, 1952-
Partner: UNT Music Library

Arcane 11

Description: The different sound materials of the work come from commercial synthesizers (DX7 / D50). The SAMI (Computer Assisted Music Support System), developed by Bernard Donzel-Gargand and Adrien Lefevre (IRCAM), allowed me to create this music. This instrument offers various access commands such as: - joy-sticks, - photocells, - pedals, who can each, according to our imagination, drive real-time music parameters (change of timbre, velocity, frequency according to modes, ranges, series, tempo, speed etc ...). The final version of the work is the result of mixing a 3-part score. An Arcane is a mysterious, secret operation of alchemists. Are we not alchemists of the sound world, we musicians? Eleven is, for the Arabs, the number of the knowledge of God, which passes through 11 stages: - the will corresponding to self-control, - abstinence and music that bring purification, - time, stage of the wander between self-awareness and God, - the image of God reflected in every creature, - the end of worry, - perfect tranquility and permanent ecstasy, - the outburst out of oneself, - the possibility of going up to God, - the loss of the will, - the return trip with God, - permanent contemplation giving the power to work miracles.
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Date: 1990
Creator: Donzel-Gargand, Bernard, 1945-
Partner: UNT Music Library

Les Bijoux de Cornelia

Description: Cornelia said to me, "Oh! this sound, I keep it - But it's mine! - Yes, but every time I hear a sound that I like, I put it aside for my collection, and I call these sounds my jewels ". I saw then in UPIC only a machine to draw or to geometrize the music. Cornelia, by her words, led me into a different mode. Imagining a very simple score, cutting into his living flesh and extracting a complex wave that could provide subtle timbres and dynamics, became a children's game surprised to manipulate in his fingers the "jewels of Cornellia". Excerpt from Imaginary Memories "by J.E. Marie
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Date: 1990?
Creator: Marie, Jean-Etienne
Partner: UNT Music Library

Bouffée Délirante

Description: "Delusional episode of short duration, bursting suddenly in a subject with a certain mental fragility." Larousse Dictionary My first attempt to make cinema for the ear. A beginning of scenario: a being who looks for himself dark in a fatal delirium. This piece would be divided into two parts: escape / isolation and fantasy / delirium. This scenario fortunately exceeded, I decide to focus on the internal space and its relation with form. I want to thank Francis Dhomont, Kevin Austin and Pierre De Gagné. This piece was made at the studios of Concordia University and the University of Montreal.
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Date: 1990
Creator: Bouhalassa, Ned, 1962-
Partner: UNT Music Library

Chroniques Première Partie (Un Chant de Mars)

Description: Recording of Françoise Ermeline Le Mezo's Chroniques Première Partie (Un Chant de Mars).
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Date: 1990
Creator: Le Mezo, Françoise Ermeline, 1961-
Partner: UNT Music Library

Cristaux liquides

Description: Sound poetry around two different states, the solid and the liquid. The spontaneous and slow movement evokes the reactions of the liquid crystals.
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Date: 1990
Creator: Rodrigue, Mario, 1959-
Partner: UNT Music Library

The Day the Bank Came Through

Description: Recording of Amnon Wolman's The Day the Bank Came Through.
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Date: 1990
Creator: Wolman, Amnon, 1955-
Partner: UNT Music Library

Dedicaces

Description: Recording of Stéphan Iliev's Dedicaces.
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Date: 1990
Creator: Iliev, Stéphan, 1946-
Partner: UNT Music Library

El Destino de las Cosas

Description: "..... it is not about representing things (they represent themselves), but the destiny of things." This text, extracted from one of the articles by Felix de Azua (Writer, Barcelona 1944) included in his book "The Learning of Deception" (1989), is a true mystery to me; The attraction for what we don't understand has made me write down these words on my agenda, who knows if one day...
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Date: 1990
Creator: Palaudarias, Arturo
Partner: UNT Music Library

Diálogo con mi Anciano

Description: I composed this work during 1988/89 at the L.I.P.M in Buenos Aires. The electroacoustic material was mainly generated and processed with an ARP 2600 synthesizer and other analogues devices, that's why its title. The guitar part -five little pieces- belongs to a largest piece for guitar alone (Dobles A, 1988). The formal organisation keeps the articulation in five parts but, four interludes and a finale -with only electronics sounds- were intercalated and superposed, producing different kinds of imbrications with the guitar part. In the relation between guitar and tape, I hardly could ignore the two main options in this kind of works (timbrical opposition/timbrical interpenetration) yet the dialog is not based mainly in the timbrical characteristics of materials but in their structural features like articulation, velocity, density, mobility, etc...; as well as in their possibilities to execute different formal functions. There are no sounds of guitar processed in the electronic part, but its material was generated by using variations on the pitch structure of guitar parts as main sound source and also, in some cases, as a control signal for different kinds of modulations. Finally, I must say that, When I heard my piece finished, I felt very surprised by the fact that, in many cases, the "elder" seemed youngest than the "younger".
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Date: 1990
Creator: Liscia, Pablo di, 1955-
Partner: UNT Music Library

Dizkus III

Description: Diskus is composed at EMS in Stockholm. Dizkus I is for wind-guintet and tape, while Dizkus II is for Wind Quintet alone. On layer of the Dizkus I - tape is a kind of "pace-maker", whose role is primarily to indicate tempi and to give clues of orientation to the musicians. The pace maker is entirely based on the Karjelus-Strong plucked string algorithm and the actual sounds used in the piece have been generated on the VAX 11 computer at EMS. The pace maker put of Dizkus I - tape turned out to be of more music potential than I had expected. The idea arised to elaborate this material in a third piece of the Dizkus "family", a pure tape - piece this time. Dizkus III is divided into two parts, the structures of the sound material in the first part is "triggered" by the original sequence of plucked string sounds, the second part of the piece expose the "real" string sounds in various ways.
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Date: 1990?
Creator: Bodin, Lars-Gunnar, 1935-
Partner: UNT Music Library

Fermata via Media

Description: A shower of grains with an average duration of 80 milliseconds but perceived as a continuous sound produces shifts of changing timbres. The sound source for this granulation made in real time comes from samples whose mathematical data are recorded on a hard disk (it is quanta whose frequency modulation (FM) and the spectral envelope (formants) have been predetermined. ). The reading mode of these data is controlled in a way (as if read stuttering) to perceive as a musical gesture what could otherwise be a succession of brief and irreducible sound events. The piece is a psychological poem that explores aspects of pitch and interval, temporal perception, and timbre in a context of selective listening (auditory streaming). "Fermata via media" was produced (1990) at Simon Fraser University's Electroacoustic Music Laboratory with the help of GSAMX sampling programs for granular synthesis and compositional PDFILX developed by Barry Truax.
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Date: 1990?
Creator: Ablenas, Robert, 1959-
Partner: UNT Music Library

Flush

Description: Disregard for the welfare of all aspects of the environment stem from the negative attitudes about life that prevail in our century. Champions of bloated Western consumerism are products of an age that has framed and glorified these negative attitudes in popular existentialist philosophies such as the "sex, drugs and rock 'n' roll" ethic - philosophies that serve to vindicate a short-sighted, self-centered, hedonistic indulgence in life. Caring, conscientious, forward-looking attitudes are frowned upon as naive and absurd. The physical manifestations of these negative attitudes (such as running riot with chainsaws in our life-sustaining rainforests*) have devastating consequences for the long-term health of both us and our planet. Recent climatic conditions suggest that the Earth is beginning to lose patience with humanity and is preparing to re-enact history - to flush its surfaces in one mighty cathartic ablution. But are we prepared to perish? My composition is an attempt to musically dramatize this line of thought ; it begins by presenting, in extreme form, the two conflicting ideological attitudes (the positive and the negative), and then develops into a presentation of Nature's singled-handed combat against "evil", and ends on a note of warning (i.e. the music is fictional ; in reality there is still time to join forces with nature in its fight against the forces of nihilism). *The piece is based in particular on the theme of Tropical Rainforests - hence chainsaws.
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Date: 1990
Creator: Rodger, Daniel Paul, 1965-
Partner: UNT Music Library

Furies and Voices

Description: Furies and Voices comprises three movements, entitled Prelude, Scherzo, and Song each lasting about three minutes. It owes its title to the progression from an anonymous, and at times furious, sound stream (highly demanding of some speaker systems) to the intimation of human song, intoned in counterpoint with relentlessly moving sound masses. The "human" sound is derived by way of digital sampling of a trombone sound from an earlier composition, In Memory. A description of the compositional process of the piece can be found in Otto Laske: Navigating New Musical Horizons, J. Tabor (Ed.), Greenwood Press, Westport, CT, 1999. The piece was commissioned by the Center for the Arts, Simon Fraser University, Burnaby, B.C., Canada, and is dedicated to Barry Truax. Furies and Voices received its premiere performance at the 10th Anniversary Concert of NEWCOMP, the New England Computer Music Association founded by Laske and C. Roads, in April of 1991. It was first performed in during the Colleque ?Musique et Assistance Informatique, Marseille? (1990). The piece is available on Neuma VI (1999).
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Date: 1990
Creator: Laske, Otto E. (Otto Ernst), 1936-
Partner: UNT Music Library

Gandhi

Description: The electroacoustic composition "Gandhi" by the Czech composer Karel Odstrčil presents the fifth part of the free cycle entitled "Cabinet of wax figures". Each of these figures is characterized using unique sound equipment. For example for the composition "Einstein" we used the sound of the bows, "Curie" the voices of birds, "Kafka" the organ, "Amundsen" the hunting horns etc. The fundamental sound ground for Gandhi composition is created by the sound of flutes. By making this composition in the electroacoustic music studio in Pilsen (belonging to the Czechoslovak Radiodiffusion) in collaboration with the sound engineer Mr. Cestmir Kadlec, we have used the mirrored effect ("Spiegeleffekt").
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Date: 1990
Creator: Odstrčil, Karel, 1930-1997
Partner: UNT Music Library

Generation de ser

Description: Recording of Isaac Mizraki's Generation de ser.
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Date: 1990
Creator: Mizrahi, Isaac
Partner: UNT Music Library

Glass Music, Opus 20

Description: Recording of Liviu Dănceanu's Glass Music, Opus 20.
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Date: 1990?
Creator: Dănceanu, Liviu, 1954-
Partner: UNT Music Library

Le graal gras

Description: It is one of the most recent works of P.B. Michel. It is a magnetic tape made with noises or sounds or complex sounds of electronic origin worked in many ways according to traditional methods such as modulation, multiplication, filtering, clipping, inversion, metabole, editing, mixing. At times, for example, there will be a sort of jazz drums perceived as colorful and irregular strokes; the intensity of each stroke is proportional to the melodic interval between the latter and the previous one. This tape made at the Center for Musical Research of Wallonia with Daniel Hakier as narrator serves as background and musical commentary to a text written by the composer.
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Date: 1990
Creator: Michel, Paul-Baudouin
Partner: UNT Music Library

His Master's Voice

Description: This work is in a phrase from "Doktor Faustus" by Thomas Mann. This phrase ("in art all recently arrived strives towards an unpublished form") has been recorded with the voice of the composer himself (hence his title) in a sampler to, then separate the phonemes and transform them (through digital filters, generators of envelope, loops, etc.) in musical sounds in which, finally the voice is not recognized. The phrase, divided into three inverted parts, is what shapes the work. In each part only the sounds formed with phonemes or phoneme combinations that make up that part of the sentence are used.
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Date: 1990
Creator: Nuix, Jep, 1955-1998
Partner: UNT Music Library

Incantations and Dances

Description: Incantations and Dances was written during the summer and winter of 1989-90, largely at the Virginia Center for the Creative Arts, the Ragdale Foundation and the Electronic Music Studio of Sweet Briar College. The work was premiered in March of 1990 by the contrabassist Salvatore Macchia, for whom the work was written, and the keyboardist Jeffrey Holmes. The work is a study in real-time interaction between, on the one hand, a pair of live performers, one of whom is playing a conventional acoustic instrument and the other a series of electronic keyboards, and, on the other, a pre-programmed computer partially controlled by one of the live performers. The melodic and harmonic material of the piece is serially derived, as is its formal manipulation, but there are improvisatory elements involved and there is a decided jazz inflection to much of the rhythmic material, particularly in the closing dance.
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Date: 1990
Creator: Bestor, Charles
Partner: UNT Music Library

Intonations of the Wind

Description: It is my second computer-generated piece based on the Voice instrument program created by John Chowning, the Director of CCRMA at Stanford University. This program was modified by Stanislaw Krupowicz to include glissando capabilities that offer a means of controlling vocal articulation, a feature that has provided a central component of my evolving conceptions of synthesized vocal and choral sounds. The overall form of "Intonations of the Wind" emerged from an idea of combining rhythmically coordinated movement with both arrhythmic and rhythmically autonomous activity. These three kinds of movement are variously juxtaposed and woven into continuums in which one rhythmic idea is seamlessly transformed into another. In my search for a title for this piece, I found myself perusing an old volume of the poetry of John Keats. Many phrases leapt out at me as descriptive of my intent. These fragments coalesced somehow with a few stray images from my psyche to form this short poem from which the title was subsequently derived: Winds twist, knot and scatter Shadow trace branched thoughts Intone organic members "Intonations of the Wind" was realized on the Systems Concepts Digital Synthesizer at the Center for Computer Research in Music and Acoustics (CCRMA), Stanford University.
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Date: 1990
Creator: Carey, Joanne D.
Partner: UNT Music Library

JAC Audio Interview: Jacques Derrida

Description: JAC interview of Jacques Derrida discussing writing, philosophy, and rhetoric.
Date: 1990
Creator: Olson, Gary A. & Derrida, Jacques
Partner: UNT Libraries