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Fire Music

Computer programmes represent a gradual creation of an expert system which simulates artificial intelligence in a possible imitation of man's creation in music. In the global algorithm there are three correlated levels: 1. cosmosophic concept by Ž. Todorović (applied mathematics testing the noumenal word) as the control part of the programme participates in the coding of sound on the level of structuring reality of higher order; 2. processing of data subjected to total serialization, branching into modules of »frozen sound images from the past« (simulation of the modal system, tonal system or a style, for instance, Baroque); 3. realization of output on the level of phenomena: the choice of sound generators and possible mixtures, the effect on vital points of electronically generated sound, etc. This two recording of »Music of Cosmic Models« Saturnalias and Fire Music was made in Electronic Studio of Radio Belgrade in 1988-1989.

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Date: 1989

Creator: Šijanec, Marjan, 1950-

Item Type: Sound

Partner: UNT Music Library

… und lächelnd ihr Übel umarmen

"... und lächelnd ihr Übel umarmen" ("...and smiling embrace their evil") is a fragment from Hesiod's "Works and Days". It is Pandora who is embraced, an illusion of the Gods, captivatingly beautiful, but bearer of a myriad of evils. In my composition there are no sounds at all of living human voices or of musical instruments being played. I consciously did without the technique of sampling, which digitalizes real sounds and then reworks them with the computer. Everything is synthetic - artificial. That nonetheless apparently real sounds turn up in the music is intentional. Like illusions, they appear and disappear, coming close to being lifelike and yet still retaining their artifice - symbol also for the ambiguity of modern technology: both fascinating and potentially threatening. These sounds are produced through the computer programs Cmusic and CHANT. "... und lächelnd ihr Übel umarmen" is the introduction to my composition "Krypsantes" for computer sounds, big orchestra and choir (1995-2000) - a fragment which doesn't end, but breaks off. The piece was realized as a commission of the Berlin Academy of the Arts 1989/90 in the Electronic Music Studio of the Technical University Berlin and had its first performance during the Festival "Inventionen" in Berlin 1990. For the CD (Academy LC 1738), that contains compositions realized at the Electronic Music Studio of the TU Berlin, a special stereophonic mix of the quadrophonic original was produced.

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Date: 1990

Creator: Motz, Wolfgang, 1952-

Item Type: Sound

Partner: UNT Music Library

Révolution ?

This piece attempts to emotionally capture the political changes in the GDR and the consequences that go with them.

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Date: 1989

Creator: Lakomy, Reinhard

Item Type: Sound

Partner: UNT Music Library

Antiphonae

Was initially conceived as vocal music for two choirs, however the computer realization, which I prepared in 1987, took over from this first conception and resulted in a piece that would be hard to define. A11 the sounds have been synthesized. They originated by direct sound synthesis on the WAX/EMS computer using the CHANT program. These sounds created in the first two minutes of the piece. The sounds for the subsequent 12 minutes which form a kind of variations, are transformations of the original material, either through digital reverberation and delay or using voices and sound layers super imposed onto one another. They were realized at the polish Radio's Studio Eksperymentalne" in Warsaw in 1989. The central idea of the piece is the progressive decomposition. Starting from the "realistic" vocal sound it leads onto more and more "electronic" idioms, which never less retain elements of their vocal origin. The world premiere of the piece took place at the Techno-Musical Biennale in Koriyama, Japan in August 1989.

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Date: 1989

Creator: Kotoński, Włodzimierz

Item Type: Sound

Partner: UNT Music Library

Yuevents 90

Concerning its basic concept,the piece should have been inspired, as the organizers of the Synthèse FIMEB suggested it, by the extraordinary events in the East European countries. Though the abrupt changes of society structure,development of political pluralism, decline of communism, separation economics from politics could be the common features of all the countries, there is something specific in the Yugoslav political situation. The changes in Yugoslavia are not so bloody as in Romania but are complex like in Russia and can be only partly expressed by musical and verbal means. Some of them are characterized in the piece by specific words, rhythms and tune fragments which are musically worked out. Thus, the Albanian separative tendency is represented by words "gjaku" /blood/and "demokracia" /democracy/ shouted out by Albanian terrorists; the Clovinian wish to join Europa - by "Europa zdaj" /Europa now/; the hegemony of Croatian chauvinistic tendency - by "HDZ " /Croatian Democratic Party/; the gratitude of Serbian people for the restoration of their rights to be Serbian - by "Slobo/Slobodan Milosevic, President Of Serbia/- slobodo/freedom", etc. All the sung and spoken material was processed by means of a sampler/Akai S 1000/ and mixed with synthetic sounds. The form of the piece is evolutive, without resolving "cadence" - like the events themselves are.

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Date: 1990

Creator: Radovanović, Vladan, 1932-

Item Type: Sound

Partner: UNT Music Library

Dizkus III

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-

Item Type: Sound

Partner: UNT Music Library

La Confession

This work was created from a story entitled "The Confession" that I wrote in 1989. In Spanish originally, it was translated into Hebrew, French, English and German. Some of these texts in different languages have been integrated into the work. "Confession" records the psychological oscillations - from mental stability to madness or vice versa - that the protagonist goes through. "The Confession" of the human voice, the electronic instruments (synclaiver), the acoustic instruments (harp, trombone, cello, flute, percussion) and the concrete sounds create a semantic interaction with the syntax of the musical language.

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Date: 1989

Creator: Schmilovich, Sergio

Item Type: Sound

Partner: UNT Music Library

Fermata via Media

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-

Item Type: Sound

Partner: UNT Music Library

Adojio for Upic

Recording of Georgiĭ Dmitriev's Adojio for Upic.

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Date: 1990?

Creator: Dmitriev, Georgiĭ

Item Type: Sound

Partner: UNT Music Library

Alternances

"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.

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Date: 1985

Creator: Iorgulescu, Adrian

Item Type: Sound

Partner: UNT Music Library

Gandhi

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

Item Type: Sound

Partner: UNT Music Library

Temazcal

The title of the work comes from a word Nahuatl which literally means "burning water". Piece quickly explores a sound material frequently associated with maracas, harps, bamboos and a guitar. The live sound of the maracas comes from the traditional rhythmic patterns found in most traditional Latin American music, models that the performer is asked to combine with great dexterity to build wider and very complex rhythmic structures. These rhythmic structures are then confronted with passages of the same complexity on the tape, creating and developing ever more a "star" polyrythm that finally disintegrates. The path is then drawn for a traditional accompaniment game of maracas.

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Date: 1983-1984

Creator: Álvarez, Javier, 1956-

Item Type: Sound

Partner: UNT Music Library

Glass Music, Opus 20

Recording of Liviu Dănceanu's Glass Music, Opus 20.

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Date: 1990?

Creator: Dănceanu, Liviu, 1954-

Item Type: Sound

Partner: UNT Music Library

Diálogo con mi Anciano

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-

Item Type: Sound

Partner: UNT Music Library

A Jete

Recording of Timothy Correa-Hunt's A Jete.

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Date: 1989-1990

Creator: Correa-Hunt, Timothy, 1934-

Item Type: Sound

Partner: UNT Music Library

His Master's Voice

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

Item Type: Sound

Partner: UNT Music Library

Daffodil

This piece is based on an improvisation from concrete and electronic sounds that are No plan of any kind preceded my different work sessions in the Studio and most forms (sound events) were produced only once on an 8-track recorder tape recorder. Instrumental improvisations made by Luis Boyra (Electric Guitar), Roberto Garcia (band manipulations), and myself (flute) can be heard throughout the room ordered from rather crude raw recordings to elaborate mixes (fragments pieces of tape for myself and the band Sol Sonoro).

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Date: 1989

Creator: Arias, Ricardo, 1965-

Item Type: Sound

Partner: UNT Music Library

Brightening V or the Prague Autumn

The historic events in my country linked with the fall of the Communism in November 1989 gave us not only new dimension of life and unforgettable memories, but some precious sound material recorded by the alert radio people at the streets during the protest actions and finally during the historic days of the coup-d«etat, too. When I was commissioned in spring 1990 by the Prague Radio to create a new EA piece I decided, full of fresh emotions and memories, to use this (already historic) sound material but to create a strict music form which respects the chronology of historic events the same time. We can listen consequently the protesting demonstrators shouting their short phrases, the police speaker, the politician and his famous speech, the doleful outcries of young people beaten by the police forces and finally the outbursts of euphoria when the resignation of the old regime was announced, the bells of Prague (forbidden to ring during the Communist regime!) and the heart of Europe which began to beat freely again. The piece was premiered at the festival in Bourges in 1990 (and performed there again in 2000 and 2004) and performed in Grenoble, Switzerland, Austria (Vienna-Alte Schmiede), Norway (Oslo), USA and Czechia.

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Date: unknown

Creator: Slavický, Milan, 1947-2009

Item Type: Sound

Partner: UNT Music Library

Chromatonal

"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.

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Date: 1985

Creator: Malouf, Frederick L., 1954-

Item Type: Sound

Partner: UNT Music Library

Octo in Primis

This piece continues the series of works begun with Hora, Harmonica, Dies Harmonica, and in a purely graphic form, Calendario-Harmonico. It involves subdividing a given sub-audio period into a harmonic part and making the resulting rhythmic structure audible through heights in the same order. Whereas the previous works used the first 12 harmonics of the fundamental audio and sub-audio chosen, the structure of Octo in Primis comes from the subdivision of a fundamental period of 8 harmonics corresponding to prime numbers 7 to 47. The heights which result are part of series of partials, harmonic series of 20,83 Hz (10,000th harmonic of the period of 8 minutes). These harmonics also correspond to the prime number from 7 to 47.

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Date: 1988

Creator: Mayr, Albert

Item Type: Sound

Partner: UNT Music Library

Rain Stick

Rain Stick, a piece for live-electronic keyboard, tape, and dance, uses light sensitive continuous controllers in the performance of the live electronic parts of this piece. The choreographic aspects of the dance were influenced by the images from the poem Gallisted Campfire by Stuart Heady: A hushed whipser hangs in the air; Ancient rock trembles to life as if to answer. Soft is the spirit, and its traces are in the tissue of time. Here before, here before, hands touch- though a millenium apart.................... The sound sources of the music are digital synthesizers and samplers controlled and modified by computer. A MIDI controller automated mixing console was also used. Using rain sticks in actual dance performance and setting rock sculptures on the stage add the inspiration to awareness of Earth Day. List of Instruments & Equipment Used Sound Sources: Yamaha DX7II, Roland D50, Yamaha TX802, Yamaha TX16W Sampler, Akai S900 Sampler Audio Processors: Yamaha DMP7, Yamaha SPX90, Yamaha DEQ7 Computer: Macintosh SE/HD, Opcode Studio Plus Two Interface, JLCooper MSB Plus MIDI Patch Bay

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Date: 1990

Creator: Kim, Haeyon

Item Type: Sound

Partner: UNT Music Library

Ocellots

It was premiered at the Concerts Phonos, Miro Foundation, Barcelona. Follow the line of the author's instrumental works at this time.

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Date: 1990?

Creator: Russinyol, Jordi

Item Type: Sound

Partner: UNT Music Library

Labyrinth

This work is a practical demonstration of my theory of the expansion of the fundamental characteristics of sound (height, length, color, intensity) by two other parameters (derived from its physical characteristics): that of movement and the situation in the world. space and that of resonance. The ability to carry information depends, for all these parameters, on their possibilities of transformation For the situation and movement parameter in the space, it is ideal, during the execution, to use all the space (three-dimensional space) of the concert hall. In the studio (stereo), we are reduced to a two-dimensional space. For resonance, it is used in the "Labyrinth" using a "digital delay", whose values range from 50 to 800 milliseconds. The transformation of resonance in a constant tonal model (or changing very little) naturally causes a transformation of musical information; but still more, one can thus at will thicken, accumulate, dilute, model or combine the sound, with that of a flute or a voice in the raw state, or more or less filtered. When performing at the concert, the sound of the flute is picked up by a minimum of three microphones - one picks up the sound of the flute, the other two leads to the instrument that controls it in the way explained more high- we can use the same process with singing. The easiest way is to use a computer. The correct use of electronic devices (computers) should lead to an optimal match of the content of the work with its title.

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Date: 1987

Creator: Jirásek, Jan, 1955-

Item Type: Sound

Partner: UNT Music Library

Prortet

Recording of Juraj Ďuriš' Prortet.

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Date: 1989

Creator: Ďuriš, Juraj, 1954-

Item Type: Sound

Partner: UNT Music Library

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