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ARCHITEXTURESSTARK, CHRISTOPHER ANDREW 09 October 2007 (has links)
No description available.
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152 |
THE JAMBALAYA THAT IS MY BRAINEmerson, Jason D. 11 October 2001 (has links)
No description available.
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153 |
Time fixturesSudol, Jacob David. January 2006 (has links)
No description available.
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Balbuzard : for solo clarinet, wind symphony and electronicsAdamcyk, David January 2005 (has links)
No description available.
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--then time killed the wind-- : for percussion quartet and live electronicsTan, Anthony. January 2009 (has links)
No description available.
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156 |
Concerto grosso IDawson, Ted January 1974 (has links)
Note: "comments" document only, original score inlcuded as separate entity and accompanied by digital version of "stereo reduction" tape (1 sound tape reel: 15 ips; 7 in.) as separate entity.
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Analyse de "Motionless Move"Evangelista, José January 1983 (has links)
Note: Sheet music available upon request.
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Origophonie : for 2-12 voice choirs (SATB), 6 percussion and tapeRadford, Laurie, 1958- January 1988 (has links)
No description available.
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Alrededor de una música auscente / Alrededor de una música auscenteBudón, Osvaldo, 1965- January 2003 (has links)
Alrededor de una musica ausente is an 18-minutes long composition, written for three Instrumental Groups (Group I: two trombones; Group II: four flutes; Group III: strings [6 0 3 2 1]) and three computer-based Digital Signal Processing Stations, positioned in the performance space so as to form a circle around the audience. / Instrumental Groups and DSP Stations establish a relationship of outputs to inputs with respect to each other. Throughout the composition, sound material is gradually transformed as it flows from one Instrumental Group or Digital Signal Processing Station to another. Transformation of the sound material is accomplished by means of digital signal processing and, in the instrumental parts, by way of compositional techniques modeled after specific electroacoustic sound processing techniques. / The organization of musical structures and formal processes was informed by certain characteristics associated with devices that handle information represented digitally, by techniques of electroacoustic sound production and transformation, and by particular extended instrumental techniques. / Volume 1 of this dissertation is a written text articulated in two parts. The first part gives a historical and aesthetical context for my composition. The second part is an analysis of materials and formal processes used in the piece. Volume 2 is the music score of the composition. A CD containing the patches and soundfiles utilized in the electronic part supplements both volumes.* / *This dissertation is a compound document (contains both a paper copy and a CD as part of the dissertation). The CD requires the following system requirements: Windows MediaPlayer or RealPlayer.
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Summer Rain Part I Summer Rain - Dawn for Two-channel Tape; Part II After the Summer Rain for Piano and Two-channel TapeKawamoto, Hideko 12 1900 (has links)
This dissertation contains five chapters: 1. Introduction, 2. Basic Digital Processing Used in Summer Rain, 3. Part I Summer Rain - Dawn, 4. Part II After the Summer Rain and 5. Conclusion. Introduction contains a brief historical background of musique concrète, Electronische Musik, acousmatic music and music for instruments and tape, followed by basic descriptions of digital technique used in both parts of Summer Rain in Chapter 2. Also Chapter 2 describes software used in Summer Rain including "Kawamoto's VST," which is based on MAX/MSP, to create new sounds from the recorded samples using a Macintosh computer. In both Chapter 3 and 4, Kawamoto discusses a great deal of the pre-compositional stage of each piece including inspirational sources, especially Rainer Maria Rilke's poems and Olidon Redon's paintings, as well as her visual and sound imageries. In addition Chapter 3 she talks about sound sources, pitch, form and soundscape. Chapter 4 contains analysis on pitch in the piano part, rhythm, form and the general performance practice. Chapter 5 is a short conclusion of her aesthetics regarding Summer Rain, which is connected to literature, visual art and her Japanese cultural background.
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