Search Results

Adojio for Upic

Description: Recording of Georgiĭ Dmitriev's Adojio for Upic.
Access: Restricted to UNT Community Members. Login required if off-campus.
Date: 1990?
Creator: Dmitriev, Georgiĭ
Partner: UNT Music Library

La Confession

Description: 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.
Access: Restricted to UNT Community Members. Login required if off-campus.
Date: 1989
Creator: Schmilovich, Sergio
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.
Access: Restricted to UNT Community Members. Login required if off-campus.
Date: 1985
Creator: Iorgulescu, Adrian
Partner: UNT Music Library

Fire Music

Description: 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.
Access: Restricted to UNT Community Members. Login required if off-campus.
Date: 1989
Creator: Šijanec, Marjan, 1950-
Partner: UNT Music Library

… und lächelnd ihr Übel umarmen

Description: "... 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.
Access: Restricted to UNT Community Members. Login required if off-campus.
Date: 1990
Creator: Motz, Wolfgang, 1952-
Partner: UNT Music Library

Antiphonae

Description: 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.
Access: Restricted to UNT Community Members. Login required if off-campus.
Date: 1989
Creator: Kotoński, Włodzimierz
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.
Access: Restricted to UNT Community Members. Login required if off-campus.
Date: 1990?
Creator: Ablenas, Robert, 1959-
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").
Access: Restricted to UNT Community Members. Login required if off-campus.
Date: 1990
Creator: Odstrčil, Karel, 1930-1997
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.
Access: Restricted to UNT Community Members. Login required if off-campus.
Date: 1990?
Creator: Bodin, Lars-Gunnar, 1935-
Partner: UNT Music Library

Temazcal

Description: 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.
Access: Restricted to UNT Community Members. Login required if off-campus.
Date: [1983,1984]
Creator: Álvarez, Javier, 1956-
Partner: UNT Music Library

Révolution ?

Description: This piece attempts to emotionally capture the political changes in the GDR and the consequences that go with them.
Access: Restricted to UNT Community Members. Login required if off-campus.
Date: 1989
Creator: Lakomy, Reinhard
Partner: UNT Music Library

Yuevents 90

Description: 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.
Access: Restricted to UNT Community Members. Login required if off-campus.
Date: 1990
Creator: Radovanović, Vladan, 1932-
Partner: UNT Music Library

Les Innocents

Description: The genesis for "Les innocents" came from an article on the French revolution. I was struck how the, as now, innocent un-polarized people are very often the unspoken victims of social upheavals. This piece is a small testimonial to these people. Formally "Les Innocents" uses a technique that I have been working with for the last few years which uses natural event entropy as its basis. I use the term "Contiguous, Non-Contiguous, Event Mapping" to describe the constantly shifting parade of events that present themselves, much like the action on a street corner where few activities or conversations are perceived in full. The scoring is for Free Bass Accordion, Oboe, Clarinet, Sampler / Keyboard (pipe organ samples), violin, viola, cello and tape. All instruments are at concert pitch. This piece was premiered in Nov. 89 by the UART MIDI Ensemble.
Access: Restricted to UNT Community Members. Login required if off-campus.
Date: 1989
Creator: Wraggett, Wes Richard
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.
Access: Restricted to UNT Community Members. Login required if off-campus.
Date: 1985
Creator: Jentzsch, Wilfried
Partner: UNT Music Library

Time Mark

Description: Within Time Mark (commissioned by percussionist Kathleen Kastner), are specific considerations including a continuum of timbre - thus providing for an integration of electroacoustic and live sounds without the loss of individuality, and spatial disposition - wherein the location from which sounds emanate within the host performance space is also a parameter for composition. Originally realized in 1983 with concrete and modular voltage-controlled synthesis techniques (including much analog tape editing), the electroacoustic portion of the composition was reworked to reduce the inherent analog tape hiss and was then digitally re-recorded in 2000.
Access: Restricted to UNT Community Members. Login required if off-campus.
Date: 1983
Creator: Wyatt, Scott A.
Partner: UNT Music Library

Still Life in Wood & Metal

Description: The percussion players perform on marimba, vibraphone, orchestral bells, drums, tam-tams, cymbals, wood and temple blocks, cowbells, and various hand percussion. The sounds of these instruments are carefully integrated with the tape by means of a click track. This piece is dedicated with love to Mary Modeen.
Access: Restricted to UNT Community Members. Login required if off-campus.
Date: 1990
Creator: Jones, David Evan
Partner: UNT Music Library

Es menos dos

Description: Dedicated to Ana Vega-Toscano (1989). There are two possible versions: piano and computer controlled synthesiser or piano and tape (we will hear the piano en tape version). The technique of composition consist on the structured division of time in several levels that goes from its three sections to the small patterns. It is a duet, while one of the performers plays the piano the other triggers the computer to calculate and play short music fragments. The computer was also used for the development of chordal sonorities and melodic generation inspired on the theory of fractals. The same processes are used in piano and computer parts. The tape part was recorded at the LIEM-CDMC with programs written by the author in MIDI-Lisp, a MIDI extension developed at the IRCAM. Performers: Ana Vega Toscano, piano. Adolfo Núñez, computer. Madrid, Spain, 1988.
Access: Restricted to UNT Community Members. Login required if off-campus.
Date: 1989
Creator: Núñez, Adolfo, 1954-
Partner: UNT Music Library

Alcoforado

Description: Alcoforado is a fuzzy, vaguely remembered portrait of a woman whose passion for passionate love letters will ensure her a place in history - as in the case of the original Alcoforado, a XVII century Portuguese nun who shared the same passion. Incidentally, this is all that is known about her but - one must admit - is sufficient to make one envious. Stanisław Ignacy Witkiewicz (also known as Witkacy), a Polish painter, writer and philosopher, was a man of unusual energy which he expended on opposing any and every kind of orthodoxy - whether artistic, political or religious. He was perceived as an enfant terrible of his time, rigorously antagonistic to the uniformity of dogmatism, seeing it as a tool for enslaving the mind. Witkacy foresaw very early on the disastrous results of one such ideology - communism. Stanisław Ignacy Witkiewicz remained faithful to his ideas to the last day of his life, committing suicide on September 17, 1939 - the same day that the Russian Red Army crossed the eastern Polish border, helping its Nazi allies in fighting Polish troops. In Witkiewicz's prolific artistic output, there is a number of portraits of women entitled Alcoforado. These portraits present women's heads against fantastic and surreal backgrounds. This composition attempts to capture this idea. Alcoforado is an homage to Stanisław Ignacy Witkiewicz and was commissioned by the National Museum in Warsaw for the first complete exhibition of his works since his death. The piece was premiered on 18th of December 1989, the day the exhibition opened.
Access: Restricted to UNT Community Members. Login required if off-campus.
Date: 1989
Creator: Krupowicz, Stanisław, 1952-
Partner: UNT Music Library

Adatontrum

Description: Recording of Betin Günes' Adatontrum.
Access: Restricted to UNT Community Members. Login required if off-campus.
Date: unknown
Creator: Günes, Betin, 1957-
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
Access: Restricted to UNT Community Members. Login required if off-campus.
Date: 1990?
Creator: Marie, Jean-Etienne
Partner: UNT Music Library

Cantata "About Love"

Description: Based on 5 poems of Afanasij Afanasevic Fet, russian romantic poet (1820-1892) recorded at St.Petersburg Radio and Television Studio. The St. Petersburg Conservatoire Choir, conductor: Nikolaj Kornev, vocal: Boris Karandasov, electronics: Dmitri Pavlov, sound engineer: Vladimir Lukitchev 1990 "My Native Land" composition for electronics recorded at St.Petersburg Radio and Television Studio electronics: Dmitri Pavlov, sound engineer: Vladimir Lukitchev
Access: Restricted to UNT Community Members. Login required if off-campus.
Date: 1987
Creator: Pavlov, Dmitri, 1959-
Partner: UNT Music Library

Interhythm

Description: Piece for electronic keyboard and synthetic sounds. This is a controlled improvisation piece generated on an electronic keyboard with Max MIDI program controlling the different sound patches and dynamics in real time. This piece was realized in 1997.
Access: Restricted to UNT Community Members. Login required if off-campus.
Date: 1997
Creator: Matheus, Silvia, 1955-
Partner: UNT Music Library