Jazz Lecture Series presentation by Emily Remler on April 9, 1985 at 2:00PM at the UNT College of Music. It includes a lecture and performance by Emily Remler, guitar, interspersed with questions from the audience.

Jazz Lecture Series presentation by George Mraz on April 16, 1985 at 9:30AM at the UNT College of Music. Includes lecture and performance by George Mraz, bass, interspersed with questions from the audience.

Jazz Lecture Series presentation by Diane Reeves on April 23, 1985 at 9:30AM at the UNT College of Music. Includes lecture, master class, and performance by Diane Reeves, vocals, interspersed with questions from the audience.

A recording of Juraj Ďuriš's Spomienky (Memories).

Recording of Alvin S. Curran's Songs and Views From The Magnetic Garden

"Questions to myself and someone else" is an approach to the current man, the individual trapped in a "big city", without time to reflect, to perceive his inner self. The work is the result of a work of contact with my internal sensations regarding the "big city" phenomenon. The three parts in which the work is divided could correspond to the three main parts in which the body is divided: head, limbs and trunk. At the same time these parts are analogous to three daily actions such as: getting up in the morning, going to work and returning home, or similar skills that a man or woman could carry out in a "big city", each of these sections , seeks to express what that part of the body, to which it is related, feels on any given day. In summary, the work does not intend to make an impression of the external, but rather an expression of the internal. Could this be called "Latin American neo-expressionism"?

Etaoin Shrdlu (1985) for double-bass and live electronics coauthor: Marcello Federici published by Edipan commission: Festival Musica Verticale duration: 16'30" 1st performance: Rome, Musica Verticale Festival 23/11/85 performer: Marcello Federici - double-bass

The title of the composition is taken from a line by Cicero, "toto pectorum tremens" ("the whole breast trembling"). The main musical ideas in this piece are all related to the act of trembling as a response to some basic emotional state such as anticipation, fear, panic, exhaustion, etc. in order to expand the timbral palette of the pitched material, I have incorporated into the composition synthetic, unpitched sounds such as wind, breathing, and large, struck sheets of metal. During the course of the work the Bach choral melody "Was bist du doch, o Seele, so betrubet" appears; the harmonization is mine and the choral setting is intentionally left incomplete. This composition was realized at CCRMA under an "artist-in-residence" grant from the Rockefeller Foundation. The composer would like to thank Bill Schottstaedt for the use of his FM instrument, which was used to generate most of the sounds in this piece. The composer would like to acknowledge Michael McNabb for the use of his AM voice synthesis instrument.

A place created in ourselves by means of the fiction of a literary description that can be visited by means of the techniques to describe and tell it.

In 1985 and 1986, I composed two pieces of digital music using the program of F.R. Moore SPACE and the editorial algorithms SPLITZ and SPIRLZ. The first, Vertigo, was based on piano sounds, the second, The Vanity of Words uses reading and singing by Philip Larson of a text I extracted from Milan Kundera's short story "The Unbearable Lightness of Being. ". The works explore the numerically controlled effort of differentiation between music and note, both in terms of structural and expressive perspectives. The basic material was already recorded as being executed in such a way as to capture and use in the composition the volition of interpretation that the performers impose on the objective peculiarities elicited by their answers. My different (aspiration, deep intonation, declamation). Distinctions of this type help to differentiate the project from these two works. A formal project that I invented: the transformational mosaic. Each "tile" of the musical mosaic is drawn as usual, but tile groups exhibit broader aesthetic directions, both in terms of temporal structures and spatial structures. The spatialization of multiple layers of fragments of materials provides their intelligibility, it softens the degree, where elements that coincide and become obscure, as well as …

Produced in 1985 at the Gennevilliers School of Music (France). Lusic is a fairly fast, dynamic, very exteriorized work. As the title might suggest, it is a playful attitude to sounds and music that has been the creative engine of the work. The choice of morphologies and sound dynamics took place on an extremely wide range, ranging from very long frames to very slow variations, up to very small acute shocks, with many intermediaries. which allows a great variety of energies and speed. As for the timbres and the heights, it is the brilliance to see the stridence which was sought, as well as the homogeneity to obtain a rich and compact orchestration, evolutive and unitary from one end to the other of the piece.

At nightfall, the faithful would gather in a hut or a clearing in the woods. The ceremony was lit by hundreds of candles all around the congregation. Its introductory stage, which usually lasted quite a long time, was devoted to contemplation and the invocation of a higher power. The initiates form a ring, and under the influence of protracted simulation through prayer and wild wailing achieve a state of religious ecstasy, which grips even potential proselytes. Big strong men break into tears, women faint or become hysterical. The state of ecstasy and possession which occurs is necessary to the "divine flux". The excitation and tension now reach their peak in a state of acute ecstasy, followed by total collapse. One of the physical symptoms exhibited by potential proselytes is that they fall unconscious and can remain in that state for anything from an hour or so to one to two days. The person so affected remains absolutely motionless and totally unaware of surrounding events. On recovering they claim that they have been "converted" and bear an expression which literally radiates joy.

Recording of Alain Besset and Valérie Gonzalez's Pour en Finir avec le Jugement de Dieu.

The Other Shape is largely based on contradictions. Between the short and the long, for example. The short sound and the resonant. The dry and the reverberated, or the lengthened. The continuity of silence or holding, opposed to the brutal and ephemeral explosion of percussive sounds. As in many other plays, this dialectic has led me to a typically segmented and punctuated, simple and bare form. For its realization, I had recourse to many programs of composition, acting either at the level of whole sections, the setting up of frameworks, the development of rhythmic patterns, the detailed specification of stochastic structures, or even of the arrangement of the components of certain complex sounds and textures of the band, and the direct synthesis of some sounds. In this piece, the percussionist and the band are in situation essentially complementary, in a naturally concerting spirit. The band develops and amplifies the world of percussion: rhythmic and spatial extensions and multiplications, of timbres, durations and resonances, establishing relationships of convergence, dialogue or opposition. It remains very connected to the instrumental domain, but sometimes, when it ventures the most in its role, overflows towards other sound regions and asserts its independence. The vast majority …

Composed in December 1985, Fleeting Images uses the POD system for computer synthesis and composition developed by Barry Truax at Simon Fraser University in Vancouver. Environmental sound images based on real recorded experiences develop during the piece. This active, rhythmic textures are suggestive of the dynamism of nature - birds, insects and the bubbling energy of geothermal activity while the long sustained sounds conjure up images of waves crashing on rocky coastline mixed with the humming of telephone wires across vast open plains. Such extra-musical aspects however are merely stimuli to the composer's imagination and these ideas are articulated in a wide variety of textures. The contrast of noise-like with pure timbres is evident as is the "joie de vivre" aspect of the piece heard in the energetic, dance-like rhythmic sections, the pitches and durations of which were chosen by controlled random processes afforded by the versatile POD system.

Recording of Lidia Zielińska's Musique pour Stanisław Wyspiański.

Recording of Jan Oleszkowicz's Mare Imbrium

Recording of Daniel Arfib's Étoiles (Album illustrés en couleurs)

Recording on Andrea Libretti's Viaggio nel Mondo degli Insetti.

The title "Before the Sea of ​​Glass" refers to a scene described by the Apostle John in his revelations. Having reached Paradise, he sees a throne surrounded by a rainbow from which flashes, rumblings, and thundering sounds start. Around the throne there were twenty-four old men in white, four strange winged creatures covered with eyes, and angels in great numbers. Each in turn worshiped the one seated on the throne. A myriad of diverse creatures united in the same act of worship: a scene at once majestic and sublimely peaceful. And in front of the throne in the midst of this adoration is "what looks like a sea of ​​glass, clear as crystal". The music is based on three types of material: a buzzing of the strings, melodic circles derived from the strings and bell-shaped bell tones in contrast. They were all produced on the EMS 100 synthesizer. The buzzing between imperceptibly through a series of inversions and varied spaces, to evolve into focal point of the climax. The melodic circles are formed by a "sweeping" filter that illuminates the harmonics of the buzz. United by a common source but distinguished by different rhythmic times and patterns, they intertwine each …

This piece is a French creation, made in 1985. It is a stage music for the play "Ibsen" by John Gabriel Borkmann, act 4: winter landscape in the relationship of men ...

Recording of Andrea Libretti's Segmento 1.

String Quartet is a computer program written in the procedural control language Pile 4. This means that the composition was not conceived as an expression of certain personal emotional states. Rather, procedures related to various musical manipulations were joined in a structure that produces the sounds heard and the hierarchy in which they exist. A relatively Small amount of material was manipulated in the program to form the entire composition. The sound synthesis technique can be considered a distortion of the Karplus-Strong plucked string algorithm. A certain conceptual unity exists between the compositional structure and the sound synthesis technique since both may be considered a means of filtering noise in time. String Quartet was realized in 1985 using a DMX-1000 Signal Processing Computer and a PDP-11/34 system.

Most of the sounds in this piece are the result of the composer and a bicycle wheel getting it together in the University of Birmingham's Electro-Acoustic Music Studio. The wheel wore a Michelin 26 x 1 3/8 inch tyre. The composer wore jeans and then later changed into a suit for the more serious bits. Both needed oiling. The wheel was slightly buckled and the composer not a little warped. They had a lot in common. Although I think you'll find that Thus Spoke says more about the composer than the wheel.