Recording of Klaus Ager's C.L.B. 512 for clarinet and recording.

Quarterly publication discussing various topics in environmental ethics, including features, discussion papers, book reviews, editorial commentaries, and other text related to environmental philosophies. Some issues also include announcements and other news related to the environmental studies community.

Quarterly publication discussing various topics in environmental ethics, including features, discussion papers, book reviews, editorial commentaries, and other text related to environmental philosophies. Some issues also include announcements and other news related to the environmental studies community.

Quarterly publication discussing various topics in environmental ethics, including features, discussion papers, book reviews, editorial commentaries, and other text related to environmental philosophies. Some issues also include announcements and other news related to the environmental studies community.

Quarterly publication discussing various topics in environmental ethics, including features, discussion papers, book reviews, editorial commentaries, and other text related to environmental philosophies. Some issues also include announcements and other news related to the environmental studies community.

The InteLex electronic edition of The Collected Letters of W. B. Yeats contains, complete, the three volumes of The Collected Letters which have appeared in print. In addition, the collection includes all of the letters from the remaining eleven (unpublished) volumes, with dating information (so far as this is known), but lacking the full annotation for which the printed volumes are justly famous. Scholars will therefore have immediate access to the primary texts of the complete edition even while the final editing and annotation for the greater part of it remains in progress. A total of 7,378 new letters are featured in the database. Of these, 88 are newly discovered letters belonging to the 1865-1904 period covered by the three published volumes. The remaining 7,290 letters belong to the 1905-1939 period which will be published in print and with full annotation in future volumes of the edition. Particular note should be made of the fact that the unannotated letters have not received final vetting (which will occur only as they are annotated prior to print publication) and are therefore published here in beta form. Some errors of transcription and of dating may therefore remain within this beta group of letters …

"Litanéa" is an anagram of Electroacoustic Litanies. An exaggerated desire for possession of articulated sound material (down to the microscopic level) is not without the risk of developing a rational, even scientific, mind. In music, this exaggeration leads to a state of mind that may dry up in his desire for absolute possession of the material. A certain part of the periodicity must be left to the music (which does not belong to the composer) otherwise the sound can not exist. Litanies are of all times and all countries, and if they have been a form of religious expression calming the mind, creating a self-hypnotism beneficial on the psychological level, it has become clear to apply this musical form to the new technology of electroacoustic music. What is the point of these phonemic and vocal sounds? Probably first the rhythm of words (this pseudo-periodic rhythm that we find in all music) in cycles, like the planets in their regular races in the universe, then the stamped value of these words ( the timbre that makes the man for the musician). Make me hear your voice and I will know who you are, or rather who you are not (in the …

Recording of Jean-François Minjard's Petites Histoires Noires.

The composition comprises of two sections: In the first, the quest begins. Tension is built by the use of glissandos and timbric glides that converge and diverge from certain pitches never resting for long. The quest or searching builds up until its inevitable conclusion, finding, and in the rythmic aftermath the very simple timbric and pitch material to be developed in the second section is presented. The second section develops the rhythmic pulsations. They mix and interfere with each other in progressively more complex patterns until the remembrance of the quest returns quietly. This material takes hold of the composition without entreily displacing the pulsating theme and both conclude turning the remembrance into reality. All sound materials are originally created patches for a CZ101 synth. The 8 step envelopes are used in 4 oscillator patches to the precise glissandi that comprise much of the material. The sounds were orchestrated in 12 parts which are the 12 stereo tracks later recorded. All the materials were arranged and sequenced from a Commodore 64 computer using Dr. T Keyboard Controlled Sequencer without tape sync.

The tape part is generated entirely from the recording and manipulation of sounds produced by an alto saxophone, giving a natural homogeneity between the live instrument and the tape. Many saxophone articulations were sampled on the fanlight and underwent treatment or the computer and were then ordered and controlled though the CML (composer page). At times, these were recorded (with DBX) unto the 29 tracks, and multi track reel (when complex testures were sequined) or direct unto the PCM. Editing was done on an otani while other events were created by using traditional tape techniques on revoxs. The work can be divided into equal haves of about seven minutes each. Beginning with the saxophone. Similar material is heaved at the beginning of each half o the tape however the first half beunes a much more introspective journey than the second.

When you reach "the zenith of your life", you may be tempted to look at your past. Moving forward to the future is not easy. Reflections on the past can occur spontaneously without a particular structure, and by fugitive associations. Memories of various episodes appear unrelated. For Jon II is a piece where the main form of music is based on a similar process. The various parts of the piece seem to lack obvious connections and a clear structure principle for the whole piece. Small episodes or "little musical stories" follow each other without any apparent sequence, which means brutal changes and sharp contrasts, as the most important characters of the composition. The piece is divided into 3 movements. The first two movements can be played separately. The designation of the 3 movements is I: vivace, II: Intermezzo and III: finale. For Jon II is the last part of a book that has 4 and is now complete. The other pieces are: For Jon I (fragments of a time to come) 1977; For Jon III (they extricated their extremities) 1982; Epilogue; rhapsody of the second harvest, 1979.

Twelve months of electronic music by Gunner Moller Pedersen. And Lydar is a concept, an imaginary unity. Theoretically, we can define a year of sound as the distance that the sound travels over a year: 60 x 60 x 24 x 365 x 0.34KM = 10 722 240 KM. That's about 28 times the distance between the Earth and the Moon, but less than the light or other electronic waves that would do in 35.74 seconds. Sound is physically associated with Earth and Humanity, but its oscillations of the Universe, and it may be an explanation of what, through the medium of music we can feel the universal relationships that are otherwise hidden from our intellectual faculties. The ancient myth of "the music of the spheres" appears, like many other myths, to have a current basis in reality, and with electronic music we have the means that allow us to penetrate more deeply into the universe. In electronic music the universal oscillations are transformed and combined so that we can perceive them in the form of sounds. At the same time in a purely physical way, electronic music brings a spatial dimension to musical effects, and the concept of time …

WITH LOVE, 1986, a fantasy for live cello and decorated cello cases, in memory of Myrtle Hollins Adelberg, by Vivian Adelberg Rudow, won FIRST PRIZE in the 14th International Electroacoustic Music Competition, Bourges,1986, program division. It won with straight ten's. Rudow was the first woman to win a first prize in the Program division of the Bourges competition and the first American woman to win any first prize. This work was composed for live cello and stereo tape. For the first performance, January 1986, Paula Skolnick-Virizlay, cellist at the Baltimore Museum of Art, two separate tracks were transmitted to two separate speakers, one inside decorated cello case "Electronic Mom", the other inside decorated cello case"Electronic Woman". Amalie Rothschild, Baltimore artist, created the cello cases. The sounds coming from the different speakers represented the feelings of that specific woman. All the sounds from "Unmarried, spirited, flamboyant, "ELECTRONIC WOMAN" were electronically reproduced by the composer. The sounds from "ELECTRONIC MOM" were spoken thoughts from 23 people in interviews about their moms and moms sharing their thoughts about being mothers, original music composed for the work, plus fragments of earlier works by Ms. Rudow. The cellist sat between the two ladies and the …

Recording of Zack Settel's Homage for Peter Lampheris.

The artwork is a large industrial type sculpture with moving parts and a piano at the front.

keywords: panorama ; View of Palazzo and Piazza Pubblico

Recording of Burt Warren's Racter and Eliza- A computer opera (of mistakes). For computer voice synthesis. Racter and Eliza are two computer programs which were early attempts at artificial intelligence. The computers were ran by feeding the outputs of one into the input of the other and they were able to interact. Using an Amiga computer little speech synthesis was used, and the voices were fed through a malfunctioning pitch to voltage converter; resulting the electronic accompaniment.

Jazz Lecture Series presentation by Dave Weckl on February 25, 1986 at 2:00PM at the UNT College of Music. Includes lecture and performance by Dave Weckl, drums, interspersed with questions from the audience.

Jazz Lecture Series presentation by Bob Berg on March 4, 1986 at 2:00PM at the UNT College of Music. Includes lecture and performance by Bob Berg, saxophone, interspersed with questions from the audience.

Jazz Lecture Series presentation by Dave Holland on March 11, 1986 at 9:30AM at the UNT College of Music. Includes lecture and performance by Dave Holland, bass, interspersed with questions from the audience.

Jazz Lecture Series presentation by Hal Galper on April 1, 1986 at 9:30AM at the UNT College of Music. Includes lecture and performance by Hal Galper, piano, interspersed with questions from the audience.

Jazz Lecture Series presentation by Hal Galper on April 1, 1986 at 2:00PM at the UNT College of Music. Includes lecture and performance by Hal Galper, piano, interspersed with questions from the audience.

Jazz Lecture Series presentation by Jim Hall on April 29, 1986 at 9:30AM at the UNT College of Music. Includes lecture and performance by Jim Hall, guitar, interspersed with questions from the audience.

Jazz Lecture Series presentation by Jim Hall on April 29, 1986 at 2:00PM at the UNT College of Music. Includes lecture and performance by Jim Hall, guitar, interspersed with questions from the audience.