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Cómo es Lily?
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Lily, how is she? She is sweet, she is cute ... very delicate. Melancholy sometimes: she is ticklish Irritable ... she lets herself die, burned by the flames.
Date:
1985
Creator:
Kusnir, Eduardo, 1939-
System:
The UNT Digital Library
Divertimento nostalgico
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"Divertimento Nostalgico / 4 Puertas", is an electroacoustic work. The variety of the language used characterizes it as divertomento, since in it very simple modal or tonal melody lines are interlaced in search of a more complex language or sound discourse. These lines or melodic games, are transformed at times into a material of great density producing and proposing a strange and different way of sound relation. At other times, traditional music emerges as an auditory need, as an act of repose. The almost infantile counterpoint becomes adult complexity, the dislocated game passes from the known to the surprising and in the same moment it is recognized again. Doors are surprises behind which there is always something ... Nostagia can appear anywhere ... music is a memory. This work was composed in 1983, in ARTE 11.
Date:
1983
Creator:
Serra, Luis María (1942- )
System:
The UNT Digital Library
Strange Attractors v1.Ob
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Strange Attractors v1.Ob is a composition which involves live interaction between bassoon and computer-controlled electronics and synthesizers. The work was commissioned by bassoonist William Ludwig for the 1990 International Double Reed Society Conference. Strange Attractors uses a Macintosh II computer to control a digital signal processor/mixer, an analog-to-MIDI converter and a Yahama TX802 synthesizer. The controlling software was created by the composer using THINK C and utilizing the Apple MIDI Manager. The Strange Attractors algorithm is a "hyper"-instrument for the bassoon. The hyper-instrument, which resides in the computer, is under the control of the bassoonist through the analog-to-MIDI converter. The reactions of the hyper-instrument translate acoustic performance parameters into computer synthesis and signal processing parameters. Dynamics are translated into spacial location, amount of harmonization, and synthesis, while the number of sonic events controls the synchronization of acoustic and synthesis performance. The hyper-instrument is made of four virtual instruments which progressively become delayed from the sonic event which trigger them. THe voices then become progressively re-synchronized only to become more and further delayed again. This cycle oscillates faster and faster as the piece progresses until the virtual instruments reach their maximum delay. The further along in the piece, the longer the …
Date:
1990
Creator:
Beck, Stephen David
System:
The UNT Digital Library
L, comme Bunuel ou la forêt des symboles
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Recording of Charēs Xanthoudakēs' L, comme Bunuel ou la forêt des symboles.
Date:
[1983,1984]
Creator:
Xanthoudakēs, Charēs
System:
The UNT Digital Library
Une croix de bouleau au nord
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Recording of Michel Longtin's Une Croix de bouleau au nord. A birch cross in the North Black sky, cold, winter, Indian in the rocky who just brought his wife to the cemetery, suicide.
Date:
unknown
Creator:
Longtin, Michel
System:
The UNT Digital Library
Cumulos
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This piece has been conceived from a basic idea, the result of astronomic observations of galatic cumulus. Paul Couderc, in his book "The Universe" (PUF, France 1955) asserts that it has been long observed that galaxies tend to go together in small groups. Later, he says, one has noticed the existence of two or three dozens of large cumulus which amass galaxies in very thick formations, by the hundreds and even by the thousands. So the cumulus existence would seem to refute the findings on the homogeneity of the stellar population's distribution in space. However, homogeneity applies to so vast domains that a cumulus' effect is of no importance. There is homogeneity of superior order, an homogeneity in the cumulus' distribution when they are considered in large number. On the musical point of view, "Cumulos" develops through very large and dynamic sound complexes which are going to concentrate or deconcentrate like true energy buildings-up. At the same time, the contrast between these agglutinations and some much smaller and simpler sounds (even reaching silence) is going to produce an idea of homogeneity that is noticeable only in the work's global context where the vast and unpredictable sound evolutions through their different …
Date:
[1987,1988]
Creator:
Valverde, Gabriel, 1957-
System:
The UNT Digital Library
Thus Spake Bosch
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"Multiplicity of Unity" or "Unity of Multiplicity" are pure illusions and mystifications. Nothing relates to anything, nothing can be deduced from anything, there are no causes nor effects. Neither there is a world of ideas, monads and essence, therefore each reduction, even eidetic, is just a replacement of objects-- or better --words which seem to be especially developed for this useless game. Anything may precede anything, anything may follow anything, and there is nothing which might not coexist with anything else. The ordering function of time is another illusion and oversimplification. The same applies to necessity. After all, "impossibility" is a common thing, indeed. There remains one question, however: what does the world seen from the top of Palace of Culture and Science in Warsaw have in common with the world seen from the top of Empire State Building? Nothing. And this is a right answer. I can not miss an opportunity of expressing my deepest gratitude to John Chowning for his human voice synthesis, to David Jaffe for his pluck instruments synthesis, to Bill Schottstaedt for his strings and for myself for the remainder. Thus Spake Bosch was composed in March 1985, premiered in Warsaw on April 11, 1985 …
Date:
1985
Creator:
Krupowicz, Stanisław, 1952-
System:
The UNT Digital Library
Fog Tropes
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Recording of Ingram Marshall's Fog Tropes.
Date:
1982
Creator:
Marshall, Ingram, 1942-
System:
The UNT Digital Library
The Dreams of J. Wyx
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This piece is part of a cycle of eight pieces. J.M. Wyx is a fictional figure, suggesting a fanciful atmosphere of an ancient world and historical instruments. Its form is a large ABA form. Apart from its composed parts, the piece offers a possibility of improvisation for the solo instrument, the hurdy-gurdy.
Date:
1985?
Creator:
Márta, István
System:
The UNT Digital Library
Veils: Studies in Textural Transformations
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"Voiles" is a series of textures, or walls of sound, that acts on the listener as an invitation to explore an environment where one can discover new acoustic sensations. The texture, a sustained chord of usually 14-56 notes, is constantly transformed by the change of instrument that articulates the sound (for example from strings to voice, brass, piano, marimba, glasses etc .. .). No electronic effects were used but only direct recording and mixing of acoustic instruments. However, the sound source or the type of instrument are at no time obvious to the listener, hence the "veiled" sound sources. This veiled sound is created by three main factors: the multitrack (180-280 tracks of the same instrument and used at each moment) tuning chords which is new "microtonal" intervals that do not exist in our system of 12 tones and the recording method where the microphone is very close in a dead acoustic space, which highlights the aspects of each type of instrument that we do not normally hear. The title is also an analogy with a real veil where one can see each of the threads or the whole weaving. In "Veils" we imagine that the listener can jump from …
Date:
[1984,1985]
Creator:
Dolden, Paul, 1956-
System:
The UNT Digital Library
Labyrinth
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This work is based on a verse declaimed in Latin of "Ovid's Metamorphoses" describing "the Daedalus" of the great labyrinth constructed as the home of the Minotaur. The verse says "The eyes are lost in Daedalus because of the wandering in the various ways". This is the problem of illusion due to the divergence and the crossing of paths, where lines of development and progression on which is based the structure of musical treatments of "Labyrinth". The purpose of this musical "Labyrinth" is to engage and interact the listener's attention rather than lose it. Produced at EMS Studio and Queen's University Kingston, February-May 1985. Work steps: May-June 84 sound laboratory from the British Medical Research Council of Cambridge (UK) with the digital sound editing system used to create a variety, text transformation.
Date:
1985
Creator:
Keane, David, 1943-2017
System:
The UNT Digital Library
The Cathedral in Coventry
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Recording of Michal Košut's The Cathedral in Coventry.
Date:
1984
Creator:
Košut, Michal, 1954-
System:
The UNT Digital Library
La Disparition
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"I see as a whole a convulsion that involves the global movement of beings, ranging from the disappearance of death to that voluptuous fury which, perhaps, is the meaning of the disappearance". Georges Bataille "What will come out of old times" Jean-Luc Godard From a stylistic point of view, it is the orchestral character that predominates in this work, as much by the richness and complexity of the tracks, as by the color of the sound. From the technical point of view, sounds, of acoustic origin (instrumental and environmental), are all the result of computer processing and digital effects, without any recourse to synthesis.
Date:
[1987,1988]
Creator:
Calon, Christian, 1950-
System:
The UNT Digital Library
Stiriae
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Stiriae was my first substantial piece of electroacoustic music, composed in the Electroacoustic Studios at the University of East Anglia. It was joint winner of the CNM/France Prize at the Bourges Festival of Electroacoustic Music in 1985.
Date:
1984
Creator:
MacDonald, Alistair, 1962-
System:
The UNT Digital Library
Ströme
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In essence, in the case of this piece of extended sounds, which are located very close to one another at the level of the range of micro-intervals, they are played "live" on the violin and mixed definitively with through the magnetic tape on two or four tracks. The design being the basis of this approach is to procreate sounds that, in reality, are not found on the magnetic tape. Thus harmonic sounds are constantly changing, and often result in agglomerates with high-pitched sounds that are not produced by the instrument, but exist only in space, generated by the way in which materials are produced. influence each other. In addition, the effect perceived by the hearing is determined by the rhythmic flight of the beats in the case of a reproduction through two or four voices, it is possible by a three-dimensional separation, to clearly distinguish the sounds individual. The sounds fit into the peripheral field of what is commonly called "ground" and "mi" while during movements related to micro-intervals, the space is suddenly also filled with the E flat fifth sol. In essence, it is the sound density and treble register that determine the structure of the room while beside …
Date:
1987
Creator:
Zabelka, Mia, 1963-
System:
The UNT Digital Library
Contrasts
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It is proposed in the work Contrasts that the conditions, under which forces arise in opposition, induce sensations of external abstract events which do not reflect the true nature of these events but rather depict the experience of them as an acoustic continuum.
Date:
unknown
Creator:
Lindblad, Rune, 1923-1991
System:
The UNT Digital Library
Quatour
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Recording of Yves Daoust's Quatour. "In composing this work, I thought a lot about Beethoven's Grande Fugue, Opus 133. There is this incredible tension in writing, almost inhuman, as if Beethoven had wanted to shatter the instruments, as if he wanted to reach the limit beyond, which opens expressive areas inaccessible to acoustic instruments - if not in the dream - but that the magic and artifices of electroacoustic means can now explore. To search for inflections and articulations characteristic of the string quartet writing across all eras and give them that little push to slide into an imaginary space, transcending the physical limits of musicians related to their acoustic instruments. This is Quatuor's intention, which is an admiring homage to these performers, for whom forming a quartet is often a little like entering religion..." - Yves Daoust, composer 1st prize in the electroacoustic studio category at the 8th Bourges International Electroacoustic Music Competition, 1980 and Golden Euphony, 1993.
Date:
1979
Creator:
Daoust, Yves
System:
The UNT Digital Library
La materia è sorda
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The work comes from the analysis of the formal parameters (duration, pitch, accent of the phonems), of the prosody of three poems (canzoni) of 13th Century written by Dante Alighieri, Guido Cavalcanti, Guido Guinizelli on the same subject: the incoming of their loved woman among the men. The relationship between such parameters and the main characteristics of the musical language, which has been already pointed out by many people, has permitted the extraction of the formal model for the composition. We have employed the vocal synthesis model with linear prediction coding implemented on the interactive sound system ICMS, realized by Graziano Tisato, to obtain the formal data and those referred to the phonems of the poems. Such data have been opportunely processed by Pascal and Fortran programs and employed for the synthesis and signal processing by Music V, Music 360 and ICMS programs. The work was commissioned by RAI and realized with the resources of the Centro di Sonologia Computazionale, University of Padova. The natural voice in the piece is Lorenzo Rizzato.
Date:
[1983,1984]
Creator:
Doati, Roberto 1953-
System:
The UNT Digital Library
Cadenza
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Recording of Lucien Goethals's Cadenza. This composition is part of a work for orchestra and electroacoustic music. It is a solo for tape recorder, placed in the middle of the work. The basic material consists of electronic sounds (sinusoidal sounds) and concert sounds (instrumental sounds). The overall shape is the result of the superposition of a large number of simple sound layers.
Date:
unknown
Creator:
Goethals, Lucien
System:
The UNT Digital Library
Chef d’œuvre
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Recording of Jon Appleton's Chef-d’œuvre.
Date:
1967
Creator:
Appleton, Jon
System:
The UNT Digital Library
Underground Mess
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The work was completed at the Finnish Radio Experimental Studio in 1984. The sound sources for the piece were an electric guitar and the singing voice of the composer.
Date:
1984
Creator:
Taskinen, Ari, 1959-
System:
The UNT Digital Library
Ceremonia Secreta
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It is a mixed piece for amplified classical guitar, electroacoustic support and real time transformation devices, composed in 1985-86. The title recalls the homonymous Roman of Marco Denevi. For the production of this piece at the Studio of the Technical University of Berlin, the author received the Berliner Künstlerprogramm grant from DAAD (Deutsches Akademisches Austauschdienst, the German Academic Exchange Service). The electroacoustic medium uses exclusively guitar sounds, recorded and transformed. Two real-time devices are used: a) a PUBLISON, a device that changes the pitch and timbre of the instrumental sound, and b) a multitrack delay developed by technicians from the Studio of the Technical University that allows very precise offsets. The piece has two parts: in the first, the instrument transformed by the devices is at a level with the electroacoustic support, configuring a narrow musical texture, complex, and sometimes very pocket noise. In the second part of the work, the electroacoustic support becomes the accompaniment of the soloist's game realized by the guitar. Here, the texture abandons its complexity to build a characteristic modal climate. The version of the CD has been interpreted and recorded by the composer himself. Technical assistance for the realization of electroacoustic support: Folkmar Hein.
Date:
1987
Creator:
Mandolini, Ricardo, 1950-
System:
The UNT Digital Library
Nocturno
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Recording of Ludmila Frajt's Nocturno.
Date:
1977?
Creator:
Frajt, Ludmila 1919-1999
System:
The UNT Digital Library
Tide '85
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The work is, like my previous compositions, based on the preference I have for recurring treatments. This sounds complicated but is actually very simple. It simply means that a sound and its derivatives can be, if desired, recorded one on the other in a single gesture, so that the sound structure becomes more or less closed. This depends on the intervention of the composer. The derived sounds giving the coloring; it can happen quickly or slowly. For "Tide" I chose "slowly" because the tide is also a very slow process that takes about six and a half hours to reach completion. In order not to tire the listener's patience too much, I reduced "Tide" to about 17'30". My preference for recurring sounds comes from the fact that the composer has a direct influence on the material that is so stimulated in terms of its capacity of expression, another advantage, immediately apparent when listening, is that the sound gains acoustically and away from the world from which it came, the electronic sound.
Date:
1985
Creator:
Vink, Jaap, 1930-
System:
The UNT Digital Library