39 10 868 Composition An original work. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Shadow Play Creator An entity primarily responsible for making the resource <a href="https://compel-dev.vtlibraries.net/items/show/816">Fredrick Gifford</a> Date A point or period of time associated with an event in the lifecycle of the resource 2022 Composition An original work. Instrumentation video and electronics URL <a href="https://seamusonline.org/work/shadow/">SEAMUS Database</a> <a href="https://vimeo.com/111200122">Vimeo</a> <a href="https://rexhits.com/category/electro-acoustics/">Wang's website</a> Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 06:52 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource SHADOW Date A point or period of time associated with an event in the lifecycle of the resource 2013 Creator An entity primarily responsible for making the resource <a href="https://compel-dev.vtlibraries.net/items/show/683">Shijie Wang</a> Composition An original work. Instrumentation Snare drum and sound exciter Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 13:00 URL <a href="https://seamusonline.org/work/shadows-of-the-electric-moon/">SEAMUS Database</a> <a href="https://soundcloud.com/per-bloland/shadows-of-the-electric-moon">SoundCloud</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Shadows of the Electric Moon Date A point or period of time associated with an event in the lifecycle of the resource 2013 Creator An entity primarily responsible for making the resource <a href="http://compel-dev.vtlibraries.net/items/show/665">Per Bloland</a> Description An account of the resource This is essentially a solo snare piece, though a few other ancillary instruments are called for. An audio exciter, controlled by an onstage laptop, directly vibrates the head of the drum. <div class="work-body"> In Shadows…, the timbral palate of the snare drum is altered in a number of ways. For the duration of the piece the drum is upside down, with the snare exposed. A medium cymbal and a single crotale are brought into contact both with the drumhead and this exposed snare. In addition a sound exciter rests on the snare for the much of the piece. This exciter receives an audio signal from a computer, and attempts to reproduce that signal by vibrating the snare at the frequencies it receives. The success of this endeavor is, of course, inherently limited. The piece is essentially cyclical, with the first cycle revealing the theme. The sound types emphasized in this theme tend to be abrupt and mechanical, with rapid shifts in playing technique. Subsequent cycles introduce increasingly long and static interruptions to this material, becoming ever more obsessively transfixed. Further variations on the theme are introduced in later cycles as the material types begin to shuffle. This piece, as are many of my recent pieces, is based on a novel by the Norwegian author Pedr Solis. Den Elektriske Månen (The Electric Moon) is one of his earlier novels, written well before his better-known work Stillaset. It takes place in the northern reaches of Finnmark, the northernmost county of Norway. The writing is lyrical and dreamlike, with similar but slightly varied passages of text often recurring. This piece is dedicated to Patti Cudd. An audio exciter and palm-sized amplifier are available from the composer upon request. (NOTE – the two channels specified above are for optional -but recommended- amplification of the percussion setup) </div> Composition An original work. Composed by a link back to one or more Person records responsible for the composition. <a href="https://compel-dev.vtlibraries.net/items/show/689">Thomas Brosh</a> Instrumentation Tape; recorded from a Yamaha DSR-2000 and a Roland HS-60. Length 8:57 URL <a href="https://seamusonline.org/work/shadows/">SEAMUS Database</a> <a href="https://archives.colorado.edu/repositories/3/archival_objects/41528">Shadows in University of Colorado Boulder's archival collection</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Shadows Date A point or period of time associated with an event in the lifecycle of the resource 1996 Description An account of the resource Based upon selected words by David Trinidad and Tim Dlugos. Premiered at the University of Colorado-Denver, March 24, 1995. Additional performances at the Community College of Aurora and Colorado College. Composition An original work. Composed by a link back to one or more Person records responsible for the composition. <a href="https://compel-dev.vtlibraries.net/items/show/715">Alex Buehler</a> Instrumentation Flute, Live Processing Length ~12:30 URL <a href="https://seamusonline.org/work/shaula-the-sting-of-scorpius/">SEAMUS Database</a> <a href="https://www.alexbuehler.com/shaula-the-sting-of-scorpius-2014.html">Website</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Shaula: The Sting of Scorpius Date A point or period of time associated with an event in the lifecycle of the resource 2014 Description An account of the resource I was inspired to write this piece after attending a Colorado Symphony Orchestra performance of only Claude Debussy works. In that spirit, the piece uses only the notes and harmonies found in the whole-tone scales, starting in E whole-tone and ending in D-flat whole –tone. Shaula: The Sting of Scorpius is a reference to the final star that makes the point of the stinger in the constellation Scorpius. The story of Scorpio is that the great Greek hunter Orion was on a hunting excursion with Apollo and Artemis. While on their journey Orion boasted that he was such a great hunter that he would kill every animal there was to prove himself. Apollo was the Greek God of animals and was so upset by this threat that he created Scorpio, a giant scorpion, to kill Orion. In one version of the tale the scorpion kills Orion, in another Artemis accidentally shoots Orion with an arrow trying to defend him from the scorpion. Both Orion and the giant scorpion were preserved in the stars by Zeus to remember their great battle. Composition An original work. Composed by a link back to one or more Person records responsible for the composition. <a href="https://compel-dev.vtlibraries.net/items/show/686">Jon Appleton</a> Instrumentation Fixed Media Length 5:21 URL <a href="https://seamusonline.org/work/sheremetyevo-airport-rock/">SEAMUS Database</a> <a href="http://media.dartmouth.edu/~jonesmedia/Appleton/APP1102.mp3">Listen to Sheremetyevo Airport Rock</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sheremetyevo Airport Rock Date A point or period of time associated with an event in the lifecycle of the resource 2002 Description An account of the resource Uses source material from Moscow’s Sheremetyevo Airport and from interviews on Stary Arbat in Moscow and two professional actresses. Includes modified music of Glazinov and Khachaturian. Composition An original work. Instrumentation Max/MSP Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) indefinite Software Requirements Max/MSP URL <a href="https://seamusonline.org/work/singular/">SEAMUS Database</a> Representative Recording(s) Use this field to embed video or audio recordings that the composer(s) consider representative of the piece. <iframe width="560" height="315" src="https://www.youtube.com/embed/rWAPzuQEVa8" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="allowfullscreen"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Singular: an algorithm Date A point or period of time associated with an event in the lifecycle of the resource 2015 Creator An entity primarily responsible for making the resource <a href="https://compel-dev.vtlibraries.net/items/show/617">Will Huff</a> Description An account of the resource Following the loss of a loved one, this piece attempts to capture that je ne sais quoi of someone dear. In a sea of similar pitch collections, a single chord answers. Composition An original work. Instrumentation for drum set and live electronics Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 12:00 URL <a href="https://www.paulschuette.com/music/">Paul Schuette's website</a> <a href="https://seamusonline.org/work/sliced-attractor/">SEAMUS Database</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource sliced attractor Date A point or period of time associated with an event in the lifecycle of the resource 2014 Creator An entity primarily responsible for making the resource <a href="https://compel-dev.vtlibraries.net/items/show/636">Paul Schuette</a> Description An account of the resource <div class="work-body"> Chaos has a theory. Despite the implications of the word itself, the study of chaos has revealed that there is a high degree of order (and predictable disorder) in the places where we have observed chaos. Research in this field has lead to insights into turbulence, the formation of snowflakes and galaxies, and the rhythm of our own heartbeats. In fact, one might say that natural order itself is ruled by chaos. It quite literally surrounds us. Simple systems can easily be described with simple equations. (Think of linear equations from high school). Therefore, it was always believed that complex systems, such as the one finds in nature, would require equally complex mathematics to describe. Remarkably, this is not true. Complex chaotic systems can be described with astonishingly simple equations. The complexity of nature is great, but it is perhaps even more wonderful to note that the logic which balances it all is in essence elementary. Simply put, sliced attractor is chaotic music in this sense. It is complex music that is achieved through simple means. A simple (but chaotic) pattern permeates the piece and is found at all levels of magnitude, yet it is used to generate a high degree of complexity. This music is orderly in its disorder, predictably unpredictable, and simply complex. </div> Composition An original work. Instrumentation Laptop Ensemble URL <a href="https://seamusonline.org/work/small-groups-of-people-bring-collapse/">SEAMUS Database</a> Representative Recording(s) Use this field to embed video or audio recordings that the composer(s) consider representative of the piece. <iframe width="100%" height="300" scrolling="no" frameborder="no" allow="autoplay" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/233726715&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true"></iframe> <div style="font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;"><a href="https://soundcloud.com/mtfirn" title="Max" target="_blank" style="color: #cccccc; text-decoration: none;" rel="noopener">Max</a> · <a href="https://soundcloud.com/mtfirn/small-groups-of-people-bring-collapse" title="Small Groups Of People Bring Collapse" target="_blank" style="color: #cccccc; text-decoration: none;" rel="noopener">Small Groups Of People Bring Collapse</a></div> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Small Groups of People Bring Collapse (Laptop Anarchy) Date A point or period of time associated with an event in the lifecycle of the resource 2013 Creator An entity primarily responsible for making the resource <a href="https://compel-dev.vtlibraries.net/items/show/634">Maxwell Tfirn</a> Description An account of the resource There are six parts written in Max/MSP. No conductor is needed and the time is automatically set in the patches. Composition An original work. Instrumentation for tuba and live electronics Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 7:00 URL <a href="https://www.paulschuette.com/music/">Paul Schuette's website</a> <a href="https://seamusonline.org/work/smudge/">SEAMUS Database</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource smudge Date A point or period of time associated with an event in the lifecycle of the resource 2012 Creator An entity primarily responsible for making the resource <a href="https://compel-dev.vtlibraries.net/items/show/636">Paul Schuette</a> Description An account of the resource smudge attempts to take the tuba’s sound and blend, smear and shade it in the same way a visual artist would create a charcoal drawing. The two electronic effects used in the piece serve this goal. Reverb, which acts like the damper pedal of a piano, blurs the sound horizontally in time while ring modulation creates pitched sidebands around the tuba’s sound, blurring the sound vertically. The melodic material is also “smudged” in a similar way. The materials always heard with reverb are musically expanded in a vertical direction while the materials associated with ring modulation are horizontally developed – creating a paradoxical and elastic experience with an instrument that usually draws in a straight line.