Latest content added for UNT Digital Libraryhttps://digital.library.unt.edu/search/?q=&t=fulltext&fq=str_year%3A19842024-01-04T22:08:34-06:00UNT LibrariesThis is a custom feed for searching UNT Digital LibraryFantasia Cosmica2024-01-04T22:08:34-06:00https://digital.library.unt.edu/ark:/67531/metadc2221485/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc2221485/"><img alt="Fantasia Cosmica" title="Fantasia Cosmica" src="https://digital.library.unt.edu/ark:/67531/metadc2221485/small/"/></a></p><p>Recording of Raoul Pavon's Fantasia Cosmica. This is a work for electronics.</p>Tape 105 Side B2023-06-20T18:30:02-05:00https://digital.library.unt.edu/ark:/67531/metadc2124880/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc2124880/"><img alt="Tape 105 Side B" title="Tape 105 Side B" src="https://digital.library.unt.edu/ark:/67531/metadc2124880/small/"/></a></p><p>Akha songs and narratives. njí-phà sjhí ə, àphimi-tshú III, Maesuai 2/1-84</p>Tape 105 Side A2023-06-20T18:29:20-05:00https://digital.library.unt.edu/ark:/67531/metadc2124878/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc2124878/"><img alt="Tape 105 Side A" title="Tape 105 Side A" src="https://digital.library.unt.edu/ark:/67531/metadc2124878/small/"/></a></p><p>Akha songs and narratives. njí-phà sjhí ə, àphimi-tshú III, Maesuai 2/1-84</p>Tape 104 Side B2023-06-20T18:29:04-05:00https://digital.library.unt.edu/ark:/67531/metadc2124877/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc2124877/"><img alt="Tape 104 Side B" title="Tape 104 Side B" src="https://digital.library.unt.edu/ark:/67531/metadc2124877/small/"/></a></p><p>Akha songs and narratives. njí-phà sjhí ə, àphimi-tshú II, Maesuai 2/1-84</p>Tape 104 Side A2023-06-20T18:28:51-05:00https://digital.library.unt.edu/ark:/67531/metadc2124876/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc2124876/"><img alt="Tape 104 Side A" title="Tape 104 Side A" src="https://digital.library.unt.edu/ark:/67531/metadc2124876/small/"/></a></p><p>Akha songs and narratives. njí-phà sjhí ə, àphimi-tshú II, Maesuai 2/1-84</p>Tape 103 Side B2023-06-20T18:28:44-05:00https://digital.library.unt.edu/ark:/67531/metadc2124875/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc2124875/"><img alt="Tape 103 Side B" title="Tape 103 Side B" src="https://digital.library.unt.edu/ark:/67531/metadc2124875/small/"/></a></p><p>Akha songs and narratives. njí-phà sjhí ə, àphimi-tshú I, Maesuai 2/1-84</p>Tape 103 Side A2023-06-20T18:28:37-05:00https://digital.library.unt.edu/ark:/67531/metadc2124874/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc2124874/"><img alt="Tape 103 Side A" title="Tape 103 Side A" src="https://digital.library.unt.edu/ark:/67531/metadc2124874/small/"/></a></p><p>Akha songs and narratives. njí-phà sjhí ə, àphimi-tshú I, Maesuai 2/1-84</p>Symphonia2023-04-26T20:37:38-05:00https://digital.library.unt.edu/ark:/67531/metadc2099785/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc2099785/"><img alt="Symphonia" title="Symphonia" src="https://digital.library.unt.edu/ark:/67531/metadc2099785/small/"/></a></p><p>Recording of László Dubrovay's Symphonia. The composition was produced in 1984-85 in West Berlin at the Technical University under the direction of Folkmar Hein. It was made with a "Synclavier II" digital system and a "Synlab" analog system. The process of composition went as follows: all the notes are composed exactly, programmed step by step into the memory of Synclavier II; this program controlled the instrumentation and all of the musical and sound transformation processes. This material was transformed and refined by the "Synlab" analog synthesizer. The work is of a classical conception, the first part has the form of a sonata. There are real themes, melodies united by a new harmonic system. In the movement, sounds are transformed through the use of poly-tempo, polyrhythms, and - as the composer states - "changes of meaning, as if they had not been realized by an orchestra or instruments." The second part is an adagio in the form of a bridge. It is a movement constructed in a dramatic and mono-thematic way.</p>[Sojourner Truth Festival workshop reports]2022-06-02T22:53:49-05:00https://digital.library.unt.edu/ark:/67531/metadc1939350/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1939350/"><img alt="[Sojourner Truth Festival workshop reports]" title="[Sojourner Truth Festival workshop reports]" src="https://digital.library.unt.edu/ark:/67531/metadc1939350/small/"/></a></p><p>Audio cassette from The Black Academy of Arts and Letters recorded during a workshop report meeting for the Sojourner Truth Truth Festival held in March 1984. The tape includes one track of audio that lacks presence but includes voices of meeting participants including Curtis King.</p>["Black Music and the Civil Rights Movement", recorded at Fair Park]2022-06-02T22:46:36-05:00https://digital.library.unt.edu/ark:/67531/metadc1939336/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1939336/"><img alt="["Black Music and the Civil Rights Movement", recorded at Fair Park]" title="["Black Music and the Civil Rights Movement", recorded at Fair Park]" src="https://digital.library.unt.edu/ark:/67531/metadc1939336/small/"/></a></p><p>Audio cassette from The Black Academy of Arts and Letters recorded during their "Black Music and the Civil Rights Movement" concert recorded at Fair Park Music Hall on January 15th, 1984. The tape includes one track that is well recorded and includes speakers discussing Martin Luther King Jr. and the civil rights movement along with music by a large choir. The tape features an individual male soloist.</p>32.780371 -96.765915[JBAAL "Black Music and the Civil Rights Movement" concert audio tape 1 of 2]2022-06-02T22:45:34-05:00https://digital.library.unt.edu/ark:/67531/metadc1939335/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1939335/"><img alt="[JBAAL "Black Music and the Civil Rights Movement" concert audio tape 1 of 2]" title="[JBAAL "Black Music and the Civil Rights Movement" concert audio tape 1 of 2]" src="https://digital.library.unt.edu/ark:/67531/metadc1939335/small/"/></a></p><p>Audio cassette from The Black Academy of Arts and Letters recorded during their "Black Music and the Civil Rights Movement" concert recorded at Fair Park Music Hall on January 15th, 1984. The tape includes two tracks that are well recorded and includes speakers discussing Martin Luther King Jr. and the civil rights movement along with music by a large choir.</p>32.780371 -96.765915[JBAAL "Black Music and the Civil Rights Movement" concert audio tape 2 of 2]2022-06-02T22:45:09-05:00https://digital.library.unt.edu/ark:/67531/metadc1939334/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1939334/"><img alt="[JBAAL "Black Music and the Civil Rights Movement" concert audio tape 2 of 2]" title="[JBAAL "Black Music and the Civil Rights Movement" concert audio tape 2 of 2]" src="https://digital.library.unt.edu/ark:/67531/metadc1939334/small/"/></a></p><p>Audio cassette from The Black Academy of Arts and Letters recorded during their "Black Music and the Civil Rights Movement" concert recorded at Fair Park Music Hall on January 15th, 1984. The tape includes two tracks that are well recorded and includes speakers discussing Martin Luther King Jr. and the civil rights movement along with music by a large choir.</p>32.780371 -96.765915[Interivew with Dr. Margaret Walker Alexander]2022-02-15T16:03:28-06:00https://digital.library.unt.edu/ark:/67531/metadc1913244/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1913244/"><img alt="[Interivew with Dr. Margaret Walker Alexander]" title="[Interivew with Dr. Margaret Walker Alexander]" src="https://digital.library.unt.edu/ark:/67531/metadc1913244/small/"/></a></p><p>Audio cassette from The Black Academy of Arts and Letters Records. Clip 1 of the audio recording begins with two men, one identified as Mr. Matthews, discussing the safety concerns and inspections of hotels in Dallas. Other conversations on the recording include city council discussions and city budgets. Clip 2 of the audio recording contains an interview with Margaret Walker Alexander, a poet, and writer who discusses spending fifteen (15) years writing about Richard Wright with her novel Richard Wright: Daemonic Genius. Around the fourteen-minute mark the audio transitions into political questions and answers for political candidates for office.</p>Jardin Secret I2019-11-17T09:26:17-06:00https://digital.library.unt.edu/ark:/67531/metadc1585845/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1585845/"><img alt="Jardin Secret I" title="Jardin Secret I" src="https://digital.library.unt.edu/ark:/67531/metadc1585845/small/"/></a></p><p>Jardin Secret I (Secret Garden, 1984-85) is a first study in a series of works, for which I have concentrated in making computer research on the relations between different musical parameters and processes, as well as my own musical thinking. I shaped primary models for various different, well-defined musical situations. Starting from these models, I intended to control various musical parameters, without forgetting their particular features. I wanted to find out whether these parameters could be treated starting from the same outset point. Since i have been interested for a long time in the idea of (musical) interpolation, my starting point was also partly determined by this interest, in relation to various specific musical and physical parameters. The dominating type of process in this etude is a gradual interpolation between two points, realized on different parameters in different scales. Sometimes this process is combined with sharp transitions between different characteristics in other parameters. The color and tone levels of the sounds are intertwined into an indissoluble processor FPS-100. All the sound material for the piece has been synthesized with this version of Chant. The mixing of the sound material was made with a Sony 24-track digital tape recorder. (KS)</p>Bucolica2019-11-17T09:26:17-06:00https://digital.library.unt.edu/ark:/67531/metadc1586003/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1586003/"><img alt="Bucolica" title="Bucolica" src="https://digital.library.unt.edu/ark:/67531/metadc1586003/small/"/></a></p><p>Recording of Juan Blanco's Bucolica.</p>De Motu Naturae2019-11-17T09:26:17-06:00https://digital.library.unt.edu/ark:/67531/metadc1586031/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1586031/"><img alt="De Motu Naturae" title="De Motu Naturae" src="https://digital.library.unt.edu/ark:/67531/metadc1586031/small/"/></a></p><p>Recording of John Rimmer's De Motu Naturae. The work is a musical reflection on the author's personal environment. The movement of nature, of a large scale, cyclical, with ebb and flow, is listened to and rendered thanks to the use of accelerated and punctuated dramatic gestures. These elements contribute to the "dance" quality of the room.</p>Anamorphoses2019-11-17T09:26:17-06:00https://digital.library.unt.edu/ark:/67531/metadc1586091/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1586091/"><img alt="Anamorphoses" title="Anamorphoses" src="https://digital.library.unt.edu/ark:/67531/metadc1586091/small/"/></a></p><p>Recording of Charēs Xanthoudakēs' Anamorphoses for tape.</p>Seseribo2019-11-17T09:26:17-06:00https://digital.library.unt.edu/ark:/67531/metadc1585808/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1585808/"><img alt="Seseribo" title="Seseribo" src="https://digital.library.unt.edu/ark:/67531/metadc1585808/small/"/></a></p><p>This piece was inspired by the rite of Sikán and Ikué from Afro-Cuban. This piece tells the legend about how Sikán, a not only curious but indiscreet woman, goes to the Sacred River where sacred Ikué lived. Nobody but the initiates could hear Ikué's secrets. Sikán, being a woman with profane ears was not able to hear Ikué's voice, but she did, and she saw, and she told. Nobody believed her fantasy. Sikán kidnapped Ikué to show it. She paid this profanation with her skin and her life. Ikué died, nobody knew how. But the secret was not lost, neither the habit of reunion, nor the joy of knowing that it exists. With his skin was made the "ekué" which now speaks at the initiate rites and its magic. Sikán's skin was used to build another drum that must not speak, still it suffers the punishment of the long-tongues. Nobody plays it.</p>Agua Derramada2019-11-17T09:26:17-06:00https://digital.library.unt.edu/ark:/67531/metadc1585998/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1585998/"><img alt="Agua Derramada" title="Agua Derramada" src="https://digital.library.unt.edu/ark:/67531/metadc1585998/small/"/></a></p><p>This piece was included in first electro-acoustic recording in Mexico under the Colección
Hispano-Mexicana de Música Contemporánea. Agua Derrramada is the sonic result of
my perception of spilled water with different recipients.
The instruments used for this piece are one Arp 2600, one Korg 3100 and a DX7 with no
sample technique involved.</p>We2019-11-17T09:26:17-06:00https://digital.library.unt.edu/ark:/67531/metadc1586014/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1586014/"><img alt="We" title="We" src="https://digital.library.unt.edu/ark:/67531/metadc1586014/small/"/></a></p><p>"We" has a long history. In the mid-sixties he made music for La burr, by Carlos Saura. In a film sequence, Geraldine Chaplin dressed as a Castilian Spanish woman in mourning, rosary, etc., in order to play to excite her husband. It occurred to me to sound the sequence with a Gregorian-based assembly. The music was censored and I had to write something else. But the experience helped me to devise a work in which the Gregorian was the thread. I thought about making a vast fresco in which several musical traditions met, day logasen and ordered with formal criteria necessarily new and able to encompass any sound material. Thus was born the first version of WE, between 1969 and 1970. I was never satisfied with it, since one of the basic criteria of the form, the intermodulation of some sound objects by others, was insufficiently achieved for what I was looking for. Finally, last summer, I decided to finish it. I settled in Cuenca and, working intensely in the Electroacoustic Laboratory of his Conservatory, on August 19 I realized what I consider the definitive version and, from now on, unique. As so many other times, the sound imagination walked ahead of the technical possibilities of a moment. I would like to record here my thanks to the Director of the Conservatory of Cuenca, Pablo López de Osaba, and to the technician who helped me to carry out the work, Leopoldo Amigo.</p>Space B2019-11-17T09:26:17-06:00https://digital.library.unt.edu/ark:/67531/metadc1586086/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1586086/"><img alt="Space B" title="Space B" src="https://digital.library.unt.edu/ark:/67531/metadc1586086/small/"/></a></p><p>Recording of Chiaki Takatsuki's Space B.</p>Faust2019-11-17T09:26:17-06:00https://digital.library.unt.edu/ark:/67531/metadc1585796/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1585796/"><img alt="Faust" title="Faust" src="https://digital.library.unt.edu/ark:/67531/metadc1585796/small/"/></a></p><p>As a further attempt in the direction of the Gesamtkunstwerk, this piece seeks formally a connection between high-level linguistic culture, lively drama and precise sound aesthetics. It comprises in the original two parts in a total length of about 1 1/2 hours, the actor is constantly present. Based on their story, accompany the central figure except electronic and concrete sounds, a song. Epilogue (for mezzo-soprano, orgei and oboe d'amore), a short wind quintet, as well as the Mephistowalzer (for violin solo) already known by Franz Liszt, where the musical elements often become independent beyond mere "accompaniment", or to transform itself into counterpoints. In fact, the piece, based on the drama, is located exactly between the theater and the music scene, which in today's highly specialized epoch also presupposes a certain willingness of the audience to engage in and rethink. In the case of the performance here, only a part of the middle of the piece can be presented, which is why in this case the text was mixed with the band, so as not to connect the individual sections, at least the listener's imagination is not speech and music distract; but this is actually in the sense of the manufacturer, because under no circumstances should a simple radio play situation arise. Also, the composition of the piece is by no means as informal and episodic as this cutout might be expected to. The individual scenarios and locations were taken from the text of Lenaus in such a way and, even with the implementation of textual and substantive changes, lined up in such a way that a circulation-like. Structure results, whereby the essential musical elements, which appear in the beginning, are also brought to an end. There are also some other analogies to be discovered in it: An aeolian melos, as it were, runs through the piece as a guide, which appears three times. The same is true of the first bars of the Mephistopheles, which are also made three times to finally combine counterpoint with the aforementioned A minor, Melos. In a similar way, there are many other analogies within the piece, whereby the old Cantus Firme technique is heavily used in instrumental music. Ultimately, this work also expresses Ruttinger's endeavor to find a soapy view of the end of time, including, in short, Occidental symbols, an independent, self-contained intermediate form of theater and music.</p>Voie Lactée2019-06-12T21:59:19-05:00https://digital.library.unt.edu/ark:/67531/metadc1506058/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1506058/"><img alt="Voie Lactée" title="Voie Lactée" src="https://digital.library.unt.edu/ark:/67531/metadc1506058/small/"/></a></p><p>Voie Lactee is a work in four movements (A ? 3:06, B ? 5:53, C ? 9:00, D ? 11:05) meant to depict the fast-changing galactic multitudes of the Milky Way in tandem with reflections on the drama of the human condition. The work owes its title to a recurring stanza in G. Apollinaire?s Chanson du Mal Aime (1904):
Voie lactée, ô soeur lumineuse
Des blancs ruisseaux du Chanaan
Et des corps blancs des amoureuses
Nageurs morts suivrons-nous d'ahan
Ton cours ver d'autres nébuleuses.
Throughout, at least two opposing tempi define the flow of the music. Percussion-punctuated flow in the second movement is followed by more song-like articulation in the third, and by a coda with the sense of finale.
Technically, the piece combines score synthesis with sound synthesis. Score synthesis is based on Koenig?s Project One ? not typically used for electro-acoustic music - , while sound synthesis makes use of Dean Walraff?s MUSIC1000 orchestra language, a variant of CSound. I want to thank Dean Walraff for his generosity of opening his studio to me, and composers Pamela Marshall and Curtis Roads for their technical support.
Performances include Hartford Public Library 1984, Intern. Computer Music Conference Vancouver (1985), Connecticut College, New London, CT 1986, Connecticut College, New London, CT 1986, University of Maryland, College Park 1987, and Boston University School of the Arts (1988).</p>Fractal C2019-06-12T21:59:19-05:00https://digital.library.unt.edu/ark:/67531/metadc1506084/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1506084/"><img alt="Fractal C" title="Fractal C" src="https://digital.library.unt.edu/ark:/67531/metadc1506084/small/"/></a></p><p>Recording of Horacio Vaggione's Fractal C.</p>Digital Tantra II2019-06-12T21:59:19-05:00https://digital.library.unt.edu/ark:/67531/metadc1506092/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1506092/"><img alt="Digital Tantra II" title="Digital Tantra II" src="https://digital.library.unt.edu/ark:/67531/metadc1506092/small/"/></a></p><p>This work was premiered September 15, 1984, as winner of the 1984 Newxomp Competition. It is the second of three pieces which together form a set. The piece is dedicated to my daughter S. Michelle, whose singing voice provided a model for many of the synthetic voices, and also to my old friend and teacher, Mr. John R. Brasher.</p>To my friends – A Letter2019-06-12T21:59:19-05:00https://digital.library.unt.edu/ark:/67531/metadc1506114/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1506114/"><img alt="To my friends – A Letter" title="To my friends – A Letter" src="https://digital.library.unt.edu/ark:/67531/metadc1506114/small/"/></a></p><p>I dedicate this piece to all those who do not remain indifferent to the plight of others, to all our friends granting us their support, if only in their thoughts. I would like this expression of thanks for the assistance and solidarity to be accompanied by a message: make sure that our minds are not conquered by deceptive ideologies. - Bohdan Mazurek</p>Transparency for Harp and Tape2019-06-12T21:59:19-05:00https://digital.library.unt.edu/ark:/67531/metadc1506116/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1506116/"><img alt="Transparency for Harp and Tape" title="Transparency for Harp and Tape" src="https://digital.library.unt.edu/ark:/67531/metadc1506116/small/"/></a></p><p>This work was realized at the Institute of Sonology in the Netherlands and premiered in Tokyo in 1984. The tape part was created with real-time computer sound synthesis techniques, and real-time computer transformations of sections of the harp part. Two PDP-15 computers were employed in this process. For the real-time sound synthesis, the "PILEM" application developed by Paul Berg was used. The signal processing programs were written by the composer in FORTRAN and Macro Assembler. This work won First Prize in the Mixed Electroacoustic Music Category at the 13th International Electroacoustic Music Competition of Bourges, France, and was selected for performance at the 1998 International Computer Music Conference in Cologne.</p>Points2019-06-12T21:59:19-05:00https://digital.library.unt.edu/ark:/67531/metadc1506136/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1506136/"><img alt="Points" title="Points" src="https://digital.library.unt.edu/ark:/67531/metadc1506136/small/"/></a></p><p>Points was realized on a VAX 11/750 computer at EMS in Stockholm.
Most of the source material was generated with a program called Chant. This program is especially designed for synthesis of the human voice, and developed at IRCAM in Paris, by among others like Xavier Roder. The material has then been processed and structured with a set of different "processing-programs".</p>The Description of France2019-06-12T21:59:19-05:00https://digital.library.unt.edu/ark:/67531/metadc1506144/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1506144/"><img alt="The Description of France" title="The Description of France" src="https://digital.library.unt.edu/ark:/67531/metadc1506144/small/"/></a></p><p>This is a personal recollection of a Paris which I never knew. It is an anecdotal remembrance of Jean Baptiste Joseph Fourier with more then a nod to Raymond Roussel and filtered through the radio of Jean Cocteau’s taxi. This is the Fourier of the mathematical memoir, On the Propagation of Heat in Solid Bodies, a somewhat controversial view at that time in which the author described the diffusion of heat by a partial differential equation which could be solved using an infinite series of trigonometric functions. The equations for Fourier analysis as it has since become known, also turned out to be very useful in the analysis and resynthesis of sound (which is very much like slow heat), and as such could be described as an infinite series of sine waves of different amplitudes, frequency and phase.
Joseph Fourier was also the scientific advisor for Napoleon during the French invasion of Egypt in 1798. Beside his papers on mathematics, Fourier spent several years writing the Description of Egypt in 25 volumes and which Napoleon extensively rewrote, essentially changing history before it was allowed to be published. With its second edition however, Napoleon himself had become written out of the history of this period, and the story was retold minus his appearance. The Rosetta Stone was found by Napoleon’s troops during their invasion. The black granite slab inscribed with identical texts in demotic, Greek, and hieroglyphics provided Jean François Champollion, French linguist and proto-Egyptologist, with the key to the decipherment of ancient Egyptian hieroglyphics. This he finally solved in 1821.
This somewhat confessional narration therefore, describes a small, insignificant and imaginary dinner party celebrating the return of the French scientific delegation from Egypt in 1801. Fourier was the guest of honor, and all his science buddies where there as well as the chief archaeologist for the expedition, Jean Jacques Champollion-Figeac, the elder brother of Jean François. The younger Champollion was only 11 at the time but quiet precocious and considered by many of his fellow Frenchmen, even at such a young age, to be a genuine genius.
Like all my subsequent narrative pieces, this work was designed for real time performance. The vocalized text was extended electroacoustically with my home-brew microprocessor gear which I had been working with since 1978. Also, this particular piece made use during its performance of a working prop in the form of a handheld, random number speaking pager. This was hacked from an old transistor radio with an ancillary piece of circuit board bolted onto it, and with a row of red LEDs which came on according to the intensity of the sound coming from the radio speaker. It picked up the spoken numbers from an infrared link to a speech synthesizer chip connected to a random number generator. Much of my self-designed, hand-built, and feral electronics often looked like a joke or rather a parody of the slick, though one-tune, inflexible commercial gear that was becoming available for electroacoustics during this time.</p>Later Bagatelles 1 and 22019-06-12T21:59:19-05:00https://digital.library.unt.edu/ark:/67531/metadc1506162/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1506162/"><img alt="Later Bagatelles 1 and 2" title="Later Bagatelles 1 and 2" src="https://digital.library.unt.edu/ark:/67531/metadc1506162/small/"/></a></p><p>This work was composed at the Ontario Science Centre in Toronto as part of an Artist in Residence program. Inspired by Webern's Six Bagatelles, the piece seeks to travel far in a short period of time. The sonic textures build and change rapidly and sounds transform restlessly. In just over three minutes, an entire series of complex statements are quite complete. Composed on 16 tracks, with some sub-mixing employed, a large selection of digital and analog synthesizers were used. The mix is, however, ultimately homogeneous, while stretching the dynamics of the analog recording process to its limits.</p>La Logica de la Sorpresa2019-06-12T21:59:19-05:00https://digital.library.unt.edu/ark:/67531/metadc1506168/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1506168/"><img alt="La Logica de la Sorpresa" title="La Logica de la Sorpresa" src="https://digital.library.unt.edu/ark:/67531/metadc1506168/small/"/></a></p><p>Recording of José Manuel Berenguer's La Logica de la Sorpresa.</p>The Eternal Lake2019-06-12T21:59:19-05:00https://digital.library.unt.edu/ark:/67531/metadc1505698/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1505698/"><img alt="The Eternal Lake" title="The Eternal Lake" src="https://digital.library.unt.edu/ark:/67531/metadc1505698/small/"/></a></p><p>"The Eternal Lake" is a musical poetic work. The sound material consists of vocal and instrumental, electronic and environmental sounds, intelligible speech and non-verbally treated voice.
Music and fable are amalgamated: while the musical component maintains its independent logic, it also wraps itself into the fable, while the fable spreads into the musical domain by the use of verbal structures.
In order to maintain intelligibility, the verbal part is practically never sung, while the sung part does not contain semantized words. On the other hand, meanings are also conveyed by non-verbal voice sounds and environmental sounds, and the text is given musical characteristics by accentuating its phonetic properties, rhythm, polyphonic treatment, and densification and rarefaction typical of musical structures.
The musical fabric is organized on the principles of hyper-polyphony, making equal use of all sounds parameters, including dynamic and timbral envelopes. Transitions between musically organized segments and environmental sounds correspond to alternations between sleep and wakefulness. Rather than showing life as a dream, this garland of dreams depicts dreaming as another life, but also as a strangely distorted reflection of waking life.
The door of sleep sometimes opens a crack so that the dreamer's senses receive auditory manifestations of the reality which is going on outside him, eliciting certain crucial states of this experience of himself ans the world: flying, falling, celestial auguries, the threat of machines, hopelessness, love cataclysm old age and death.</p>Lollipops2019-06-12T21:59:19-05:00https://digital.library.unt.edu/ark:/67531/metadc1505702/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1505702/"><img alt="Lollipops" title="Lollipops" src="https://digital.library.unt.edu/ark:/67531/metadc1505702/small/"/></a></p><p>Lollipops was inspired by a sculpture of Alexander Callers', entitled Lollipops. The Calder suspends 4 large multicolored steel "lollipops" from a large red steel foundation. When the wind blows, the lollipops are motivated to sing as steel does against itself. The extraordinary combination of the colored lollipops with their association to surreal and child-like things; the unyielding drama of the cold steel structure; and the wistful song of the steel, gave me a profound feeling of something both beautiful and violent and essentially defendant on each to be. It is with the idea of an "excruciating beauty" and becomes fantastically close to it the the Lollipops as a metaphor inspired. I make no attempt to imitate the sound of the sculpture, but rather, it is the metaphor that I am interested in and the feeling that embodies the essence of it.</p>Ambitos2019-06-12T21:59:19-05:00https://digital.library.unt.edu/ark:/67531/metadc1505712/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1505712/"><img alt="Ambitos" title="Ambitos" src="https://digital.library.unt.edu/ark:/67531/metadc1505712/small/"/></a></p><p>This work was made from basic material taken from human voice and electronic sources and was ended at the beginning of 1984.</p>Time Past III2019-06-12T21:59:19-05:00https://digital.library.unt.edu/ark:/67531/metadc1505742/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1505742/"><img alt="Time Past III" title="Time Past III" src="https://digital.library.unt.edu/ark:/67531/metadc1505742/small/"/></a></p><p>"All animals always hear. To hear is the fundamental involuntary activity that initiates experience of the external world. But hearing is not listening. Only when the flow of hearing is interrupted by attention does listening occur. There must be desire."
(Philip Oxman : 'From Hand to Mouth' (BBC/1978))
Time Past III was realized between July 1983 and December 1984 in the Electroacoustic Music Studio at City University, London. It is dedicated to the memory of Philip Oxman, whose ideas inspired and motivated its composition. Natural sounds - a stream and a beehive - form the basis of two drones, while others are created from shorter natural sounds processed by the Fairlight CMI, as well as one based on electro-mechanical resonances of a double bass.Time Past III quotes ideas from other works in theTime Past series. The work is a journey through sounds and textures, moving between nature and artefact, present and memory.
My special thanks to Sue Bickley (voice), Peter Jones (bees) and Lise-Martine Jeanneret-Oxman (The Mill House stream). Time Past III was first performed at a concert of the ElectroAcoustic Music Association of Great Britain (EMAS) at the Institute of Contemporary Arts, London in December 1984. It was revised in February 1985.</p>De Wang2019-06-12T21:59:19-05:00https://digital.library.unt.edu/ark:/67531/metadc1505750/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1505750/"><img alt="De Wang" title="De Wang" src="https://digital.library.unt.edu/ark:/67531/metadc1505750/small/"/></a></p><p>"De Wang" is a monologue set to music and wants to emancipate the "sound" at the same time. The piece is a musical reflection on isolation (and psychiatry) as a political remedy and as a reflection on musical aesthetics. The specific use of psychiatry and the treatment of prisoners shows how an incumbent government can deal with its contentious elements.
Sensory depravation, (isolation), electroshock, medical treatment, psychosurgery, in fact new means of torture that are not yet recognized as such.
This work includes "pure" sounds in their raw form, which have not been blurred by aesthetic standards.
FNME Prize (awarded to composers under 35 years old) of the XIVth International Electroacoustic Music Competition of Bourges.</p>Four Nocturnes2019-06-12T21:59:19-05:00https://digital.library.unt.edu/ark:/67531/metadc1505764/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1505764/"><img alt="Four Nocturnes" title="Four Nocturnes" src="https://digital.library.unt.edu/ark:/67531/metadc1505764/small/"/></a></p><p>Recording of Hiroaki Minami's Four Nocturnes.</p>Houdinism2019-06-12T21:59:19-05:00https://digital.library.unt.edu/ark:/67531/metadc1505790/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1505790/"><img alt="Houdinism" title="Houdinism" src="https://digital.library.unt.edu/ark:/67531/metadc1505790/small/"/></a></p><p>Houdinism (1984) is a 12'20 "command of Swedish radio, an example of Lindgren's anti-sentimental side, and Houdini, the master of the escape, was the man who was locked in boxes with "infracturable" locks and chains, and of course he managed to escape from his freely chosen prison and was given the honorary title of "Master of the Escape." Lindgren's work is a complicated device with small and large "sound boxes" that are open or closed Depositif is designed to use a planar geometric system in which the opening and closing frequency of each of the boxes is controlled by a mathematical sine function. upper control level of the wave is a hierarchical system of proportions.The proportions of the soundboxes are decreases and the increases of each of them.what looks like chaos is a structured reality of how The expression is absolutely the opposite of rhetoric. It can easily be said, as Lindgren himself says, that music speaks for itself.</p>Venceremos!2019-06-12T21:59:19-05:00https://digital.library.unt.edu/ark:/67531/metadc1505804/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1505804/"><img alt="Venceremos!" title="Venceremos!" src="https://digital.library.unt.edu/ark:/67531/metadc1505804/small/"/></a></p><p>On December 7, 1975, Indonesian troops attacked Dili, the capital of the Republic of East Timor, thus ending the Timorese people's brief but brave period of independence and beginning an era of savage colonialism that continues to this day. Concerned Australian supporters of Fretilin (that East Timorese resistance army that is still waging a bitter guerilla war against the Indonesian invaders) hoped for many years that the next Labor government in Australia would honor its pledge and bring pressure on the Indonesians to allow the people of East Timor to determine their own future. But when the government under Prime Minister Bob Hawke came to power it reneged on its promises, leaving Fretilin to fight on without even psychological support. In common with many Australians, I was outraged by my government's sell-out and resolved to offer what support I could. This took various forms, including the composition and performance of this piece; "Venceremos!" is an expression of solidarity with the people of East Timor designed to bring attention to the situation and to encourage others also to offer support through whatever means possible. Some of the music is an electronic realization of a Javanese trance dance, symbolizing the advance of the Indonesian army. The East Timor national song, "Foho Ramelau", is heard, firstly in sorrow then, at the end, in optimism. There are extracts from resistance poems by the late Timorese poet Francisco Borja da Costa, who was tortured and shot on the first day of the invasion, and a section combining "The Star and Stripes" (the United States of America supplies Bronco bombers and napalm to the Indonesians to use against Fretilin), "Advance Australian Fair", "Waltzing Matilda", and echoes of "Foho Ramelau". The music has been used in a videotape production about East Timor and in an audio-visual work that used transparencies (of Indonesian atrocities) recently smuggled to Australia.</p>Four Fragments and Epilogue2019-06-12T21:59:19-05:00https://digital.library.unt.edu/ark:/67531/metadc1505860/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1505860/"><img alt="Four Fragments and Epilogue" title="Four Fragments and Epilogue" src="https://digital.library.unt.edu/ark:/67531/metadc1505860/small/"/></a></p><p>The first three text fragments were inscribed on pyramids between the years 2350 and 2175 B.C., the fourth text fragment is the remains of an ancient Babylonian penitential pealm. The electronic sounds accompanying the text are fragments from four sections of another composition, Tetrachotomous for piano, violin, cello, and tape. In the epilogue, the text fragments are transformed into electronic sounds which are immersed into a texture of harmonic fields. Time and chance have worked on the materials, not only to corrode but to create new structures, new forms and new values to attract the mind. This work was composed for the Radio Canada program 'Alternances'.</p>Dances of Illusion2019-06-12T21:59:19-05:00https://digital.library.unt.edu/ark:/67531/metadc1505888/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1505888/"><img alt="Dances of Illusion" title="Dances of Illusion" src="https://digital.library.unt.edu/ark:/67531/metadc1505888/small/"/></a></p><p>Recording of Tera de Morez Oyen's Dances of Illusion.</p>A Sea Inside Myself2019-06-12T21:59:19-05:00https://digital.library.unt.edu/ark:/67531/metadc1505900/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1505900/"><img alt="A Sea Inside Myself" title="A Sea Inside Myself" src="https://digital.library.unt.edu/ark:/67531/metadc1505900/small/"/></a></p><p>The sea is always moving, waving and roaring, fast or slow. Sometimes green or blue, dark or light, warm or cold.
In the same way my mind is constantly in commotion. In my head, in my ears, inside myself.
I tried to reflect these thoughts in this composition.
The basic material is a recording of several percussion sounds, which are modulated electronically by a synthesizer,
a Publison Harmonizer and a EMT 251 digital reverb system.
The last one is a splendid machine for special effects, which I used in another way than the common way.
The tape has been realized in the electronic music studios of Radio Hilversum.</p>La chambre secrète2019-06-12T21:59:19-05:00https://digital.library.unt.edu/ark:/67531/metadc1505906/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1505906/"><img alt="La chambre secrète" title="La chambre secrète" src="https://digital.library.unt.edu/ark:/67531/metadc1505906/small/"/></a></p><p>La chambre secrète is the first piece for a 9-voice musical ensemble composed after the work of Alain Robbe-grillet. It uses a small part of original text, principally three fragements in evoluationary connection with the figure of man and his situation in space. These threeThese three fragments, in turn, cut up, exploded become generators of sound forms and also of new meaning. The structure of the piece is determined by the principle of moebius: closed loop on itself, but whose contained exploration reveals two different faces.
These three fragments, in turn, cut up, exploded become generators of sound forms and also of new meaning. The structure of the piece is determined by the principle of moebius: closed loop on itself, but whose contained exploration reveals two different faces.
The origin of the sound material consists of three readings of the original text by Michaël Lonsdale.
The sentences or fragments of sentences retained in the elaboration of the piece are often reconstructed from these oppositions, the different syllables of a word being able to belong to one or the other of the three versions. .
This process of recomposition opens perspectives of a musical work on the voice which is located quite outside the notion of singing ....................... ..the voice has often been rebuilt to the vox synthesizer. (vocoder e.m.s.)
The musical sounds were produced exclusively by analog synthesis (synthesis 100 e.m.s.)
Realistic sounds come from stereotypes è and stereotypes è robbe-grilletiens.
The editing work was done on two 3m, 4-track and 8-track machines, serviced by the maglink address system.
Realistic sounds come from stereotypes è and stereotypes è robbe-grilletiens.
The editing work was carried out on two 3m, 4-track and 8-track machines, servocontrolled by the maglink addressing system.</p>Obertura y Albanzas2019-06-12T21:59:19-05:00https://digital.library.unt.edu/ark:/67531/metadc1505920/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1505920/"><img alt="Obertura y Albanzas" title="Obertura y Albanzas" src="https://digital.library.unt.edu/ark:/67531/metadc1505920/small/"/></a></p><p>These two sections, each separately, are part of the work composed for a ballet called "Song of Creation", based on the link of St. Francis of Assisi. The first part (opening) depicts St Francis of Assisi, sitting alone, sick in the dark.
The second part (Prayers) is based on Psalm 141 "Lord, take my soul out of this prison, so that I pray ... Make every cell of my body reach you ...".</p>Fanfare and Chaconne2019-06-12T21:59:19-05:00https://digital.library.unt.edu/ark:/67531/metadc1505924/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1505924/"><img alt="Fanfare and Chaconne" title="Fanfare and Chaconne" src="https://digital.library.unt.edu/ark:/67531/metadc1505924/small/"/></a></p><p>Recording of Arthur Kreiger's Fanfare and Chaconne.</p>Andromeda2019-06-12T21:59:19-05:00https://digital.library.unt.edu/ark:/67531/metadc1505950/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1505950/"><img alt="Andromeda" title="Andromeda" src="https://digital.library.unt.edu/ark:/67531/metadc1505950/small/"/></a></p><p>It is a mixed piece for percussion and electroacoustic support. This one was realized in 1984 at the Berlin Technical University Studio with technical assistance from Folkmar Hein. The CD interpretation is performed by percussionist Martin Schulz. From a formal point of view, the piece divides into two different parts. The first is a permanent game on acceleratins, with the evolutions of a serious bell-shaped sound as alternative of speech. The second feeds on the musical gestures of the first, arranged in an open spatial context and very spread out. Percussion fuses totally with the electroacoustic medium, giving rise to a real perceptual unity.
The electronic materials of the support were produced with a Synclavier and an ARP synthesizer. The Doppler effects at the beginning are produced by devices developed by the Berlin Technical University Studio.</p>La Factoria Celesta2019-06-12T21:59:19-05:00https://digital.library.unt.edu/ark:/67531/metadc1505954/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1505954/"><img alt="La Factoria Celesta" title="La Factoria Celesta" src="https://digital.library.unt.edu/ark:/67531/metadc1505954/small/"/></a></p><p>The work is based on an idea of a tale or science fiction according to which in some places of the Cosmos there must be beings and factories, which are like or different from each other, that produce the raw material necessary to manufacture stars, planets and comets, as well as other sidereal worlds. I decided to make a direct and accessible music, interesting and elaborate. Although throughout the composition there are moments that can be associated with very concrete visual images, my intention is to suggest their psychological climate, allowing the author to solicit his imagination.</p>Suite uber E-Faust2019-06-12T21:59:19-05:00https://digital.library.unt.edu/ark:/67531/metadc1506010/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1506010/"><img alt="Suite uber E-Faust" title="Suite uber E-Faust" src="https://digital.library.unt.edu/ark:/67531/metadc1506010/small/"/></a></p><p>Recording of Werner Ruttinger's Suite uber E-Faust.</p>Time Past IV2019-06-12T21:59:19-05:00https://digital.library.unt.edu/ark:/67531/metadc1506014/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1506014/"><img alt="Time Past IV" title="Time Past IV" src="https://digital.library.unt.edu/ark:/67531/metadc1506014/small/"/></a></p><p>Time Past IV, for soprano and tape, was written between January and June 1984 in response to a commission from Jane Manning made possible with funds made available by the Arts Council of Great Britain. Time Past IV won first (equal) prize in the "mixed category" of the Bourges International Electroacoustic Awards 1985. Short vowels and consonants were recorded and fed into a Fairlight Computer Music Instrument. These were manipulated, using the computer, into echoes, drones and textures. The work was assembled in the multi-track studio with a small amount of additional treatment. The text is from Shakespeare's Sonnet XXX:
When to the sessions of sweet silent thought
I summon up remembrance of things past,
I sigh the lack of many a thing I sought,
And with old woes new wail my dear times' waste.
Then can I drown an eye unus'd to flow,
For precious friends hid in death's dateless night,
And weep afresh love's long since cancell'd woe,
And moan the expense of many a vanish'd sight.
Then can I grieve at grievances foregone,
And heavily from woe to woe tell o'er
The sad account of fore-bemoaned moan,
Which I new pay as if not paid before.
But if the while I think on thee, dear friend,
All losses are restored and sorrows end.
The work is in the form of a melancholic reverie, and is based on two transpositions of a single hexachord each retuned (on the tape) to lie on the harmonic series of low fundamentals of B flat and F. The overall structure follows a 'natural' cadence (B flat - F - B flat) during the 12'30" of the work. Time Past IV is dedicated to Jane Manning in great admiration. The tape was realised in the Electroacoustic Music Studio at City University, London.
© Simon Emmerson (1984/85)
IMEB/BNF-MnŽmothque recording details:
Studio recording: Jane Manning (soprano), Simon Emmerson (recording and production), City University, London, 27th September 1984.</p>Chute Libre2019-06-12T21:59:19-05:00https://digital.library.unt.edu/ark:/67531/metadc1506022/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1506022/"><img alt="Chute Libre" title="Chute Libre" src="https://digital.library.unt.edu/ark:/67531/metadc1506022/small/"/></a></p><p>Recording of Michel Pascal's Chute Libre.</p>