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Exil, Chant II
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In this admirable poem, everything is included: rhythm, velocities, movements, spaces, materials, numbers and form. Music puts at the service of the text natural images / movements, their synthetic imitation and transformation chosen for their expressive character. Of symphonic character by the wide variety of sound sources, the mixing creates uniformized energy textures, of melted character, vertical, or, on the contrary, contrapuntal chains. Exile: moment of transition between two worlds ... Directed at the analogue studio Métamorphoses d'Orphée, Musics & Research, Ohain (Belgium) with the radio creation fund of the French Community of Belgium for the new version.
Date:
1983
Creator:
Vande Gorne, Annette, 1946-
System:
The UNT Digital Library
Ritournelles II
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The human voice has always fascinated me. The year of my 16 years under the spell of the great Hungarian singer Ilona Durigo, I began to write songs that were followed by compositions (1959-61: "Miracles" for soprano and 8 instruments, 1968: " Psalm 141 "for mezzo-soprano and orchestra that was played for the first time by Bruno Maderna, etc ...) In 1967, I tried to mix singing and electronic sounds; my music "The Clothes of the Demoiselle" for soprano and band got the Swiss prize. The same year, I proposed to base the organization of the world of electronic sound on the characteristics of the human voice (Was ist elektronische musik, Zurick 1967) an idea that I concretized later with VOSIM for synthesis of its (SIMulation) and MIDIM for Digital Dialing. The two jingles are formed of "stanzas" from which their title is derived. The 11 stanzas of the first piece are developed from a single basic model in a "micro-tonal" way. This would not have been done without the help of a computer, the second piece consists of 3 stanzas, and completely explores the sound material used for "magnetic songs". These two pieces will be followed by a third …
Date:
1985/1986
Creator:
Kaegi, Werner
System:
The UNT Digital Library
Kullervo (Tonton)
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Parts Kullervon syntymä - Tonton's birth 4.00 min. Kullervon sotaanlähtö - Tonton goes to war 4.03 min. Kullervo orjuudessa- Tonton as a slave 3.40 min. Leivän syönti - emännän tappo - Eating bread and killing the mistress of the house 8.27 min. Kotona - At home 6.06 min. Siskon raiskaus - Raping of sister 5.00 min.
Date:
1985
Creator:
Sirén, Pekka
System:
The UNT Digital Library
Guimauve
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Recording of Frank Royon Le Mée's Guimauve. Band concert version of a musical theater for: 3 readers 2 dancers 1 walk-on actor and tape recorder As a result of a month's stay in a psychiatric hospital, in all that sick "I succeeded?" After several attempts, gathering memories, various notes to paint a picture of tension, pain, laugh, forces, splinters, implosion, imbalance… Guimauve 4 parts of atmosphere
Date:
1976
Creator:
Royon Le Mée, Frank, 1953-1993
System:
The UNT Digital Library
Zee
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Zee was realized with the Synclavier II system, utilizing various digital programs for processing of electronic, concrete (sampled) and intermediate ("Resynthesis") sounds. Most of the sampled sounds are of the composer's voice. Zee here is a phoneme with no semantic implications.
Date:
1987?
Creator:
Gazit, Raviv, 1949-
System:
The UNT Digital Library
Scordatura 14
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This piece for magnetic tape and string quintet with double bass takes as a reference a fairly well-known instrumental practice, the Scordatura, that is to say the game with an unusual agreement. However, this idea is here used more figuratively, since at no time the musician does not tune his instrument but at any time it is proposed to him the transformation of an object-stamp chosen for its roughness, given in its raw form and presiding at the origin of this work. From then on, this very broad thought guided me to transpose a music made of big sound blocks evolving rhythmically in registers, in densities, in power. A personal gestural metric allowed me to continually carve and order these amalgams in an attitude of sculptor-electroacoustician. Here the magnetic tape is written as the score and the score as the tape. This constant coming and going must give, precisely, the dissociable and inseparable spirit at the same time, to this playable in several versions. The same developments, modifications or permanent evolutions with filtering, repetitions, changes of lighting registers, amputations or multiplications were implemented at the level of the band as well as at the level of the instrumental writing. Thus, …
Date:
[1983,1984]
Creator:
Tosi, Daniel
System:
The UNT Digital Library
The Question Mark's Black Ink
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The Question Mark's Black Ink was inspired, in part, by a poem by S.L. Hough (opposite), from which the title comes. Though not programmatic, the work was influenced by the atmosphere of the poem as well as its implicit psychological dichotomy, of which the contrast of tape and live performers may be taken as representative. There also exists a unity between the tape and the acoustic sounds, however, because the sounds on the tape were all taken from the instruments playing: piano (bowed, plucked, and played on the keyboard), and percussion (tam-tam, vibes, bells, cymbals, gongs, all both struck and bowed). Once sampled into the Synclavier II digital synthesizer, the sounds underwent various significant transformations including filtering, splicing, mixing, and other digital concrete techniques. The Synclavier II used for this realization was purchased on a grant form the University of Southern California Faculty Research and Innovation Fund. This work is dedicated to S.L. Hough and to Vicki Ray (piano) and Mark Nicolay (percussion) who commissioned the piece and first performed it.
Date:
1986
Creator:
Alves, Bill
System:
The UNT Digital Library
Rota
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"Rota" [Rotation] was composed for solo instrument and an accompaniment of electroacoustic sounds with the help of the computer program "CCOMP" (Computer COMPosition) which is specified for composition of instrumental and vocal pieces. The basic composition principle of the program is the use of pseudorandom numbers within defined limits. They are intended to simulate random processes typical for the activity of nature and the human brain. The result is a specific and self-contained composition style.
Date:
1988
Creator:
Růžička, Rudolf, 1941-
System:
The UNT Digital Library
Tu Disais "Missie" On te Dira Monsieur
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A kind of electroacoustic medal in the form of a commemorative "Dramasonie" dedicated to those who lived enslaved in all times and in all nations. Served by those whose proud and contemptuous arrogance is the only reason for their desire for power and domination. Those are always present ...
Date:
1989
Creator:
Boeswillwald, Pierre, 1934-
System:
The UNT Digital Library
Lux
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Music, the driving force of the overall work, is also in the foreground. Its rhythms, its temporal propulsion, its dynamism, its plurality of reading propositions, schemas of values, are imprinted on the multimedia set, thus linking from inside all the dimensions of this generalized polyphony. "Lux": light-object of knowledge, primitive light, mythical light, destructive light / Religious experience on the aesthetic and symbolic representations of the bomb TRIMITE, coded name of the first atomic bomb / Antinomy of the pure reason / Imaginary of living crystals their existence on the fringes of men. The entities stemming from their geometrical dreams, appearances of incomplete humans, are as indifferent to them as the destiny of a particular CO2 molecule to the man who exhales it while breathing. "Lux": Reverie of the techno-nuclear era jointly conducted under a double entry. That of the art on-human (or the contemporary technological aspect), that of Dionysian art (or the infra-human aspects of a return to instinctual sources, sensations, impressions, emotions).
Date:
1988?
Creator:
Deschênes, Marcelle, 1939-
System:
The UNT Digital Library
Quiet Slipper Year
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Recording of Roger Doyle's Quiet Slipper Year.
Date:
[1983..1985]
Creator:
Doyle, Roger
System:
The UNT Digital Library
Her Quiet Witchery
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Recording of Michael Hinton's Her Quiet Witchery. "Her Quiet Witchery" was made at EMS in 1978, with financial support from Swedish Radio. The original material is computer-generated, using the composer's own music programming system INT6. This material has since been considerably reworked with analogue equipment.
Date:
1978
Creator:
Hinton, Michael
System:
The UNT Digital Library
Sokk
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The work was composed in the spring of 1990. The tape part was created at the studio of the Norwegian Academy of Music and is focused on the sound of the accordion. The title is taken from Norwegian and means a hollow or a basin. This refers to "harmonic hollows", the piece is built around. Harmonic material and time space are generated by the Fibonaccio row of digits. The row has been used to provide general structures and not to control details that are intuitively composed. The sound on the tape is a sample of the accordion, transformed by a Macintosh computer and a sampler. With the tape recorder, a reverb is used to bring out live accordion parts.
Date:
1990
Creator:
Hellstenius, Henrik
System:
The UNT Digital Library
Solobiloquio
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The title of this piece evokes both the "solitary" aspect of the one that one could imagine the interpreter (singer, modulator, ...) and the "two-dimensional" aspect, "dialogue" (almost all the piece is known in two layers, the second being made from transformations, shifted in time, of the first one, so that there is a work of variations both "stationary" - ("simultaneous" - "synchronous") - and "in time" - "successive". All the musical material derives from a single note (see title ...), which undergoes many variations of timbre, of "presentation", and which is often only a pretext for elaborations more complex (see, for example, the second part, where the soil is only the "reference note" the "tonic" of a complex harmonic system). The work was realized at the Studio of Electronic Music of the Research and Training Center Musicales de Wallonie, Lige, in 1984/1985. It exists in two versions: 4 tracks / 2 tracks.
Date:
[1984,1985]
Creator:
Sporken, Gerhard
System:
The UNT Digital Library
Tinell
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Composed for the Tinell Hall, at the Barcelona Royal Castle in the gothic quarter of the city, and the Percussionistes de Barcelona ensemble directed by Xavier Joaquin. Tries to use the space as an element in the composition, taking advantage of the peculiar reverberation of the stone wall hall. Space and electronic music create an appropriate environment which facilitates the reaction of the players, distant of each other; they just follow the signals of the central player surrounded by the public and the sound signals coming from their loudspeaker in the corners of the hall. The central player has the picture of whatever is going on, with the total sound, by following each player and the tape material coming from the 4 corners of the hall, enabling him to guide the piece thanks to his acoustical situation. The tape material uses electronic sounds plus processed sounds from different takes of sound structures Baschet.
Date:
1983
Creator:
Lewin Richter, Andrés, 1937-
System:
The UNT Digital Library
Salve Regina
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Recording of Roland Willmann's Salve Regina. The Gregorian chant Salve Regina was the starting point of this work in which we tried not to alter the original form but to follow it and support it in its formal and expressive course by means of electronic sounds. The use of the initial motif in the end corresponds to the cyclical form of the chant itself. The repetitive formulas, mentioned in the chant, are another structural element that grow in 3 echo plans.
Date:
1979
Creator:
Willmann, Roland
System:
The UNT Digital Library
This Transformation You Have Wrought Upon Me
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Recording of Christopher Penney's This Transformation You Have Wrought Upon Me.
Date:
1986
Creator:
Penney, Christopher, 1960-
System:
The UNT Digital Library
Trance
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"Trance" is a piece, which intends to describe a subjective interpretation of a medium person in trance.
Date:
1988
Creator:
Tripputi, Claudio
System:
The UNT Digital Library
Perhaps, at Last, Some Such Hours Passed
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When I was asked to write program notes, which I dislike, this is what I wrote, it still has no relevance to the piece, but it still says something... This piece is based around the number seven, being a lucky number as well as not belonging to the Fibonacci series. All decisions in this piece revolve around this number. For example, all the work on the piece was done after 7 p.m. When it became late this relationship became obscure. The piece was created employing John Chowning's FM algorithm, Bill Schottstaedt's FM violin instrument and Wave-Shaping voice instrument, Xavier Serra's Marimba synthesis.
Date:
1985
Creator:
Wolman, Amnon, 1955-
System:
The UNT Digital Library
...Mourir un peu
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Where we speak, of course, departure, travel, farewell ("Leaving is a little dying ..."); but also of escape, of pleasure, of initiatory journeys, of imagined space and, again, of loss, oblivion, absence, "little death" and "great journey". It is not irrelevant that this piece was created in Marseilles, among the remains of the ancient Phocaean port; the first movement is a quick allusion to this journey back in time. The sea so close, inexhaustible and plural symbol, was to be present. She is, stubbornly. The wave proposes its energetic law to the whole and to the element: flow / reflux, growth / decay, appearance / disappearance. The concrete slides towards the abstract and then reappears. Points of anchorage in the real and furtive evocations (heard or guessed?) Emerge here and there. The origin of this work lies in an earlier piece, Vanishing Points, which she develops and which we find elements in the movement 4 (Theme of the flight). This movement constitutes the "peak of the wave" formed by the curve of increasing and decreasing durations of the nine movements. Some milestones for this route: 1- (2'04) Marine. Opening. Massalia / Marseille. 2- (3'32) Preliminary mapping. Generic, first lines, volume …
Date:
1984
Creator:
Dhomont, Francis, 1926-
System:
The UNT Digital Library
Déjà vu
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Déjà vu was written in 1958 in collaboration with Vladan Radovanovic. The work is inspired by the European Music Year. It is based on variations of B_A_C_H + S_C_A_(rlatti) + H (än) DE (1) motives and quotations from three works by Bach, Scarlatti and Händel. To recognize something as already experienced, in other words déjà vu as psychological term, is symbolically expressed through the author's music, passages and strata from the very composition, through the self quotation, and remindings of natural sounds as well.
Date:
1985
Creator:
Hofman, Srđan, 1944-
System:
The UNT Digital Library
Half Way Through
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Recording of Stanisław Krupowicz's Half Way Through.
Date:
1986
Creator:
Krupowicz, Stanisław, 1952-
System:
The UNT Digital Library
Akonel no. 3
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Recording of Tamas UNgvary's Akonel no. 3. As per the composer, there is no program note for this piece. It is intended to be used for listening purposes only.
Date:
1979
Creator:
Ungvary, Tamas
System:
The UNT Digital Library
Sin Ti por El Alma Adentro
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This piece explores, on a technical level, the "gestural" quality of the flute through the use of breath and clinking of keys as the main musical material. The use of modern techniques in the live flute was intended to completely avoid creating a further contrast between the flute and the tape. The only non-flute sound in the entire room is the synthesizer buzz that is used to add resonance to the live flute. At another level, the work tends to evoke the deepest isolation in the midst of frenzied activity and peace of heart when they are accepted.
Date:
1987
Creator:
Escrivan Rincón, Julio d', 1957-
System:
The UNT Digital Library