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The Mountain Broadcast and Prairie Recorder, Number 2, December 1944

Description: The Mountain Broadcast and Prairie Recorder was dedicated to information about folk and country songs and singers in the United States, with articles, photos, and a section of sheet music. These issues are from the collection of Floy Case, a pioneering music journalist who wrote many articles for this publication.
Date: December 1944
Partner: UNT Music Library

The Mountain Broadcast and Prairie Recorder, Number 1, September 1944

Description: The Mountain Broadcast and Prairie Recorder was dedicated to information about folk and country songs and singers in the United States, with articles, photos, and a section of sheet music. These issues are from the collection of Floy Case, a pioneering music journalist who wrote many articles for this publication.
Date: September 1944
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.
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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.
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Date: 1990
Creator: Motz, Wolfgang, 1952-
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.
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Date: 1989
Creator: Lakomy, Reinhard
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.
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Date: 1989
Creator: Kotoński, Włodzimierz
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.
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Date: 1990
Creator: Radovanović, Vladan, 1932-
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

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.
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Date: 1989
Creator: Schmilovich, Sergio
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

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

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.
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Date: 1985
Creator: Iorgulescu, Adrian
Partner: UNT Music Library