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Mécanique de la Foudre
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A parterre of joy the pretty space trapeze. Mechanics of Lightning Febrile ions exploding the thunderbolt, the storm heard but misunderstood answers its sound. Stun! Splash of silences. Water itself carries within us who transport it, who season it with our multiple moods; well. A perfect liquid by listening to our cycle in condensation and in flow of attractions. Waterstone, from my heart a stroke of frost. The work is dedicated to Francis Dhomont. Pierre Bouchard: "Wedge the time between my teeth. Concide with the present. I like the sound ecology, the phonic reserves. In the mesh of training, too. Lead the noise in concerted moments ... That's it!”
Date:
1988
Creator:
Bouchard, Pierre, 1958-
System:
The UNT Digital Library
Audiospacial
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Recording of Vladan Radovanović's Audiospacial. The electronic material of the piece consists of real or quasi-simulated vocal or instrumental sounds. The vocal material, on the other hand, sometimes tends towards the electronic sound. The electronic part was realized by combining the two processes. For some sections, the score was established and carried out strictly. Others were improvised using the digital memory of the sequencer. If the electronic part is frozen by the choice of the sound events and their recording, the part reserved for the choir remains open in some zones because the interpreters can decide the rhythm and the height. In its original form, the work envisages a performance space including concert hall, communicating spaces on the same level, and possibly rooms above and below the hall. Both the electronic sounds are treated as sometimes mobile, sometimes stationary sound sources. The choir is required to move about the performance space according to trajectories coordinated with the time evolution of the score. A version for tape alone (and the corresponding score) has also been made. The electronic material is built up of sounds that range from autochthonous to quasi-simulation of instruments and voices. On the other hand, the vocal material …
Date:
1978
Creator:
Radovanović, Vladan
System:
The UNT Digital Library
Clepsydre
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Clepsydra is part of this vast acousmatic fresco made of steps forward and back on the first works. Composed in this last idea, this piece is the second movement of the 1st Grimoire of the "acoustic illusion", not created until tonight, devoted to the element water. The 2nd Grimoire (1982) was born before the complete creation of the 1st Grimoire. The first purification of the material therefore took place before the shaping of the initial material. However, thanks to the evolution of the experience, I wondered about the stability of my basic building and I got a clearer idea about this project. These reflections have actively served me in the development of Clepsydra. Around the "Athanor", the "Vulcan Forge" and the "Blue Corps of the Night", Clepsydre closes "perhaps" the 1st Grimoire, presenting the philiphaly houses of the acousmatic creation. This is how this work is woven with a number of natural atmospheres evoking a cloister in the rain and sounds created in the studio.
Date:
1982
Creator:
Favre, Marc 1954-
System:
The UNT Digital Library
Old Style Pieces
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The concrete sounds (human voices) were recorded in France and Poland. Electronic sounds were added later during realization of this piece at the Experimental Studio of Polish Radio in Warsaw. The premiere performance took place at the NON-MEDITATIVE MUSIC concert in Art Gallery DZIEKANKA in Warsaw, 20.12.1985.
Date:
1985
Creator:
Knittel, Krzysztof, 1947-
System:
The UNT Digital Library
Elektronikus Mozaik
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Electronikus Mozaik ("electronic mosiac") for stereo tape was commised by the Hungarian national film production organization, MAFILM, for a first performance in Budapest in May of 1984. The work was realized using digital sound generation facilities, in particular the Yamaha DX-7 synthesizer, at the Queen's University Electronic Music Studios in Kingston, Canada. The piece was conceived as a sonic analogy to a visual mosaic. Points of sound with various colors, or timbres, correspond to the bits of colored stone found in the visual mosaic. The sonic colors are worked into variously similar and contrasting rhythmic contexts intended to encourage the listener to move his/her mental focus among the larger and smaller levels of structure but to find coherence and, in particular, continuity at each of these levels. At the micro levels of the work the richness and variety of the individual points is meant to attract the listener's attention, while the macro levels comprised of interwoven streams of points merge into structures which are meant to engage and hold the listener's attention.
Date:
1984
Creator:
Keane, David, 1943-2017
System:
The UNT Digital Library
Coding 1
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This work is the sounding of a simulation of the Brownian motion. First, the computer makes a simulation by using the random numbers. I used the every time numbers as the random seed. So, there is no equal playing. It always changes the form. Next, the information and the data of the simulation are converted into the data of the sound (frequency, envelope, rhythm, etc) by the computer. But a tone colour is fixed. The computer brings the sound date to a kind of LSI that we call PSG (programmable sound generator) and commands the PSG to sound. And the sound is added to 4 kinds of reverberation and some dimensions. The sound looks like the chaos.
Date:
1987
Creator:
Nemoto, Shinobu
System:
The UNT Digital Library
D'un Jour, l'Autre
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"One day, the other" work composed in 1986 in the electroacoustic music studio of CNR Amiens is a series of paintings passing like dreams, melting musical and anecdotal sounds.
Date:
1986
Creator:
Saur, Etienne, 1958-
System:
The UNT Digital Library
Adieu à Terez
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Recording of László Király's Adieu à Terez. “The sound material of the composition is a female voice modulated by various electronic means. The composition consists of 3 parts: 1) The enchantment of Terez, 2) The dream at dawn 3) Farewell The first part is based solely on the modulation of the voice. The beginning of the second part consists of an indiscernible speech and vocal music, which becomes more and more discernible. The third part remains on the contrast of voice and vocal music. For me, the essential was the contrast and the correspondence and the emotional effect the different timbres of sound.” - László Király, composer
Date:
1978
Creator:
Király, László
System:
The UNT Digital Library
La cicatrice du geste
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Written for two analog, polyphonic and programmable synthesizers. This first sequence is a bit like a traditional sonata at the level of the spirit that governs the 4 movements that compose it as well as some formal concerns. However writing for synthesizers is a matter of instrumental design is typical to this instrument all that concerns the sounds used as the game modes, especially the systematic use of filtering as a game element or "montage" programmed sounds.
Date:
1984?
Creator:
Duchenne, Jean-Marc, 1959-
System:
The UNT Digital Library
A Quiet Disturbance
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This piece for magnetic tape is - from several points of view - a confrontation of various worlds. First of all, on the music-technical level: the production process. The means of the classic studio, the manual aspect of the work on one side, the generation of basic sound materials on the other side. In addition, the piece is a confrontation of concrete sounds and electronic sounds.The complex spectrum of the human voice is used in this case as a "plastic algorithm" of great flexibility and considerable variability. A hybrid, quantitative analysis results in information that is used by the program to make decisions for controlling a program outside the computer. The program conceived and developed by the author (Oscar, acronym for Oscillator Artist) allows a complete navigation between one-to-one relations and a completely automatic algorithmic synthesis, in the human dialogue-to-machine. This piece was designed for tape but performed with live performance procedures. The piece uses some FM sounds recorded at the Studio of the University of Toronto in 1979. The piece was made in the private studio of the author. The final mix was performed at the IPEM studio, Ghent, in November / December 1984.
Date:
1984
Creator:
Beyls, P. (Peter), 1950-
System:
The UNT Digital Library
Luminescence
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The basic idea for Luminescence is revealed by the opening sound, an F above middle C, which is modified by a filter that moves from a point above the second harmonic to about the sixth harmonic and back with a speed that starts slowly (at zero), increases up to a moderate rate of speed, and then decreases to the original point. This creates a "shimmering" effect that suggested the title to me. Each tone in the composition undergoes similar spectral changes, produced by moving a filter from one point in the spectrum to another, and back, in a varying periodic motion. The resulting effects sound different depending on where in the overtone spectrum the change occurs. There is always an interaction between individual overtones, which can be heard as separate tones, and both other overtones and the fundamental frequencies of other pitches in the same musical context. The rates at which the spectral changes occur are always in the subsonic range, and they are several octaves (nine or ten) below the fundamental frequencies of the notes on which they occur. The frequency continuum is thus structured on multiple levels: subsonically, in the rates of change of filters; in the mid-range, …
Date:
1985
Creator:
Howe, Hubert S., Jr., 1942-
System:
The UNT Digital Library
Octogos
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Recording of Mikaël Olonne's Octogos.
Date:
unknown
Creator:
Olonne, Mikaël, 1948-
System:
The UNT Digital Library
Fall
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An electroacoustic time that connects three types of sound events. By imitation and complement, by the quality of the gesture started, too. Fall is an electroacoustic band work for a choreography by Lee Ann Smith. When presented with the choreographic duet, the work participates as the third character provoking the dancers and reacting to their play. In concert, the piece offers a temporal dimension and a space where the sound and sensual imaginations - listening - play with and against this projected presence. The basic sound material combines friction materials: sounds of moving objects and air. A work of transformation of some of these fabrics - especially the supported sets - constituted a repertoire of shades of timbres, which was placed throughout the room, in superimposed layers. The punctual gestures were used to construct the articulations of the different times of the work - where the dynamics of the dance or the image is activated, suggests where is transformed. In addition, series of gestures and textures were created by synthesis. They are used in ways similar to friction material: to color certain moments in the background and produce the actions in the foreground. Fall, which was produced at the Electroacoustic …
Date:
1988
Creator:
Denis, Jean-François, 1960-
System:
The UNT Digital Library
Poèmes électroniques
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Recording of Gabor Dárvas' Poèmes électroniques
Date:
1982/1983
Creator:
Darvas, Gábor, 1911-1985
System:
The UNT Digital Library
Elegie à la mort d'un être bien-aimé
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Recording of José Vincente Asuar's Elegie à la mort d'un être bien-aimé.
Date:
1984
Creator:
Asuar, José Vicente 1933-2017
System:
The UNT Digital Library
Transparence
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Piece for 4 percussionists, magnetic tape, text and slide show in six movements Sounds of wood, metal, vibraphone and marimba. Image: dissolve slideshow on Kandinsky images. Little dream in color Schematic colored vibration Double sound Fine lines resist heavy point Punctuation Random Musician: Patrick Devers percussion Jaqui Détraz Tabla Pierre Coppier percussion and text Bernard Donzel-Gargand percussion Philippe Moënne-Loccoz Sound Recorder Jacqueline Boirard Voice Claire Laurent Image Leon Diaz-Ronda Image
Date:
1987
Creator:
Donzel-Gargand, Bernard, 1945-
System:
The UNT Digital Library
Guitarra Cubana
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The new version of Guitarra Cubana is reduced to three sequences. Two phonetic sequences and guitarra sequence alone. We have with the guitarist Miguel Bonachéa conducted research on the guitar by taking this instrument a bit like a santur. The guitar is therefore struck with chopsticks, but also prepared as a piano, detuned or tuned differently. The guitarist plays the materials that are recorded and then edited. The phonetic and vocalic materials are made with the publison (infernal machine). The work is a dialogue between the vocal-phonetic and the guitar.
Date:
1987
Creator:
Kupper, Léo, 1935-
System:
The UNT Digital Library
Ejercicio de Impulsos
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This is one of the first composed works by Francisco Kröpfl at the Phonology Musical School in 1960. The work was composed with the recording of a series of pure sounds that have frequency ratios determined in the manner of "pure sound chords", sounds which are transformed by a band cut into very small units of a third of second roughly. These sounds are sent to a reverberation chamber where they are transformed into diminuendi of about 8 ".This new way is returned to the same room but in the opposite direction, to obtain in this way a crescendo-diminuendo of about 16". The repertoire of 20 complexes of this type were transported in height, so as to obtain longer and lower sounds and shorter and treble sounds. Francisco Kröpfl composed a free composition with these materials.
Date:
unknown
Creator:
Kröpfl, Francisco, 1931-
System:
The UNT Digital Library
Vezere
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Is it in biological time? Fertile with these assets, they appear "us". They are interfering with each other. To understand our fantastic opening where each displacement answers a necessity and an instinctive choice, it is an element of power in a reciprocal attraction. In the waters of the lived feelings the souls are confused at the time of the birth of the body. Real existence is created in the power to dream its future course. The invertébé transports its molecules in the swamps to live. Green areas nourish the force of a brutal rite to the solid of the earth, the vertebrate homo-sapiens balance its animal texture. Extravagance of the imagination. Two bodies found to be born together of this limpidity to be one. Entity fed with clear water that never wears and that lava. Feminine nourishing water, wife or mistress of our common lives, ultimate axiom of existence itself – permanent ritual of substance – reason for the movement of spheres. Cold blood, warm blood, oxygen to breathe better their verticality? Germ and early fruit? Interpenetration of our love, true emergence of the man?
Date:
1990
Creator:
Olonne, Mickaël, 1948-
System:
The UNT Digital Library
Berlin Report
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You are crazy my child, you have to go to Berlin, where there are crazy people, there is your domain! Come only once to Berlin, then you'll be surprised ... yes, it's Berlin air, air, air, air ... It was like that, huh? Do you think I love you only because I'm dancing with you??? Come, Prince of Prussia, come to Berlin! Cleaner of lamps, he is, my father, at the Municipal Theater of Berlin ... Start! Now! Say so then! Back off, the train will enter the station! The first, the second ... People today, they are all so nervous! Who throws clay there? I just like it, I like it!!! Do not let the engine warm up, say so! That's enough for me, I go first to "Dorle," drink a shot. The Viennese Waltz in Berlin, it exists??? The May 1954 demonstration, airplanes, factory halls, garbage. Do you think I love you only because I dance with you? Eisler: "Der Graben", der Graben (the trenches), der Graben (dig) Go back! I really like Berlin, but I think there is still more to do.
Date:
unknown
Creator:
Voigtländer, Lothar, 1943-
System:
The UNT Digital Library
Quartet Ambar
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Quartet Ambar is a piece entirely computed by a recursive composition algorithm that decides melodic, dynamic and rhythmic events, and is played by a Yamaha CX5MII microcomputer that controls a set of 8 Yamaha TF1 modules. It is built on a four-part structure that retrograde from half of the room to the end. The first of the parts is a set of "solos" with four voices on which the speech is expressed, then the second part serves as support for "duettos", the third one for "trios" and finally, the fourth one " quartet".
Date:
1987
Creator:
Berenguer, José Manuel
System:
The UNT Digital Library
Là où Mène le Monde...
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The initial idea was to make a piece only on and through Fairlight, via the Musice Composer Language (MCL). He had, indeed, just made his appearance in the studio. So I hung my feet, like many others, in the whole process of learning, from the linguistic difference of the instruction books to the time of experimentation or "taming". He had finally seriously amputated my bank of studio hours, and I had only three minutes of realized ... the machine had me: Well disappointed, to reorient the shot, I took the flint of the Stone Age, Pierre Shaeffer ... obviously, and put me back to cut the band, using the Fairlight as a sound generator, sampled u no, and as sequencer in real time. And it will go where the world leads. Moreover, it was my farewell play at the luxurious studio of the University of Montreal. Leaving the establishment is also asking when and where, devil, will we see the day to retouch the electro. I wanted to make a more "lyrical" piece than the ones I had made, by comparing harmonies and non-harmonies, climates and atmospheres, "pure" electroacoustics and quotations. After all, the "all sound" is the "all sound", …
Date:
1985/1986
Creator:
Desjardins, André-Luc, 1955-
System:
The UNT Digital Library
Dans le jardin
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Recording of José Vicente Asuar's Dans le jardin.
Date:
1985
Creator:
Asuar, José Vicente, 1933-
System:
The UNT Digital Library
Anguish in Lebanon
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In this piece, the digitally constructed voices, 13th root of 3.14 tuning and distorted piano all combine to create a sonic field at first curious and finally frightening. It is the composer's intention to bring to mind not only the anguish of interminable war but the ambiguities of life for those whose mother country is so afflicted.
Date:
1985
Creator:
Kramer, Gregory, 1952-
System:
The UNT Digital Library