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                <text>First compositions using the Dartmouth Digital Synthesizer composed at the Thayer School of Engineering.</text>
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                <text>Written shortly after the congressional hearing regarding Planned Parenthood in September 2015, this work seeks to address the concept of duality while denaturing the toxic rhetoric that has dominated our political landscape. The audio samples used are from the hearing, and changes in the electronics are triggered by pitch input from a contact microphone attached to the oboe–no intervention on the part of the performer is required.</text>
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              <text>for microtonally adapted keyboard; keyboard, midi, synthesizer, microtone</text>
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              <text>&lt;a href="https://seamusonline.org/work/celluloid-veil/"&gt;SEAMUS Database&lt;/a&gt;&lt;br /&gt;&lt;a href="https://soundcloud.com/alexporter/celluloid-veil?in=alexporter/sets/compositions"&gt;SoundCloud&lt;/a&gt;</text>
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                <text>&lt;em&gt;Celluloid Veil&lt;/em&gt;</text>
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                <text>This piece uses a normal midi capable keyboard, then rescales the input to 40 pitches per octave. For the ease of the performer, standard notation is used as a kind of tablature; the written note corresponds to how it’s played rather than how it sounds.</text>
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              <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/688"&gt;John Wiggins&lt;/a&gt;</text>
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                <text>A year's worth of recordings of electroacoustic music using sounds from everywhere. &lt;em&gt;STRING 1&lt;/em&gt; represents a full twelve months of creating electro/acoustic pieces and beds that I then layered and edited together into one single piece. My concern is making something that is continually interesting to the ear. I followed Luc Ferrari’s lead in building and moving, always toward new ideas. &lt;em&gt;STRING&lt;/em&gt; tries mostly to manipulate timbre and space, creating the listened to sounds.</text>
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                <text>Dreams Unwind, for piano and live, interactive electronics was composed for pianist Keith Kirchoff as part of the 2016 SPLICE summer institute. This piece is a reflection on feelings of disillusionment, and how things may have diverged from the path we thought we were walking. Never really finding resolution, the piece walks the line between hopeful optimism and mocking contempt, leaving us with the feeling of looking towards an uncertain future.</text>
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          <name>Composed by</name>
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              <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/689"&gt;Thomas Brosh&lt;/a&gt;</text>
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              <text>woodwind quintet, percussion, tape</text>
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          <name>Length</name>
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              <text>5:01</text>
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              <text>&lt;a href="https://seamusonline.org/work/music-for-six-instruments-and-prepared-tape/"&gt;SEAMUS Database&lt;/a&gt;&lt;br /&gt;&lt;a href="https://archives.colorado.edu/repositories/3/archival_objects/41532"&gt;Archival materials pertaining to &lt;em&gt;Music for Six Instruments&lt;/em&gt; can be found at the University of Colorado Boulder's American Music Research Center&lt;/a&gt;</text>
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                <text>&lt;em&gt;Music for Six Instruments and Prepared Tape&lt;/em&gt;</text>
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                <text>1972</text>
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                <text>7 distinct taped segments, recorded from an EMS "Putney" VCS 3 synthesizer. Premiered September 27, 1973 by the University of Denver Woodwind Quintet.  Additional performances at the University of North Carolina-Chapel Hill.</text>
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      <description>An original work. </description>
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          <name>Composed by</name>
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              <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/689"&gt;Thomas Brosh&lt;/a&gt;</text>
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          <name>Length</name>
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              <text>6:26</text>
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              <text>&lt;a href="https://seamusonline.org/work/series-one-variations-to-t-t-l/"&gt;SEAMUS Database&lt;/a&gt;&lt;br /&gt;&lt;a href="https://archives.colorado.edu/repositories/3/archival_objects/41519"&gt;Archival materials pertaining to &lt;em&gt;Series One: Variations &lt;/em&gt;can be found at the University of Colorado Boulder's American Music Research Center&lt;/a&gt;</text>
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                <text>&lt;em&gt;Series One: Variations - To T.T.L.&lt;/em&gt;</text>
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                <text>1983</text>
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            <name>Description</name>
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                <text>Recorded from a Casio 1000-P synthesizer, the work is in 3 movements.</text>
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