43 10 868 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/703">Stephen Hennessey</a> Instrumentation guitar and live electronics Length 4:45 URL <a href="https://seamusonline.org/work/ausgang/">SEAMUS Database</a> <a href="https://soundcloud.com/staeveriksson/ausgang-sep-09-live-2">SoundCloud</a> <a href="https://www.dropbox.com/s/xburlv23oo2dgaq/Hennessey%20-%20Ausgang%20full%20score.pdf?dl=0">Download the score via DropBox</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 Ausgang Date A point or period of time associated with an event in the lifecycle of the resource 2014 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/675">Andres Luz</a> Instrumentation baritone voice, fixed media, and live electronics Length 6:30 URL <a href="https://seamusonline.org/work/el-perdido-for-baritone-voice-fixed-media-and-live-electronics/">SEAMUS Database</a> <a href="https://soundcloud.com/andresrluz/el-perdido">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 El Perdido Date A point or period of time associated with an event in the lifecycle of the resource 2017 Language A language of the resource Spanish Description An account of the resource Art song for voice and electronics in Spanish As there are not many pieces for solo voice and electronic media, I wanted to take the opportunity to work toward making a contribution in this medium. “El Perdido” is my title for the setting of Alejo Valdés Pica’s poem, “El Amor de los Amores,” which is about a rejected lover so traumatized by a failed romance that his entire vision of reality has become lost to him: his world is falling apart around him. Everything has become an eternal wasteland to him with only a faint reminiscence to momentarily alleviate the pains that lie within. The sandstorm that envelopes him at the end of the song is therefore appropriate; it reflects the inner turmoil that has lead him to yearn to be free of his life, a yearning that becomes as infinite as all the grains of sand lost in the desert. Pica’s work is representative of the late Nineteenth and early Twentieth century Filipino poets who incorporated contemporary Symbolist imagery in an overwrought style of Spanish writing. Relation A related resource Text and Translation: La vida es un dolor. Es algo incierto, lleno da brumas y de ensoñaciones que nos hacen temblar. Sepulcro abierto para enterrar en él las ilusiones. Es triste caravana en el desierto. Nos morimos de sed. Las desazones son inquietantes, como un cuerpo muerto destrozado por garras de leones. De la vida en el áspero camino yo he sido como humilde peregrino que hizo el amor de su ideal un rito; atravesó el desierto con mis penas, y he quemado mis pies en sus arenas en un ansia infinita de infinito. 1919 –Alejo Valdés Pica (1890-1945) Life is pain. It is uncertain and full of foggy daydreams that make us tremble—a ready grave awaiting our illusions. On a sad desert caravan We die of thirst. Like lions clawing the carcass of dead prey, anxieties tear us apart. On a humble pilgrim’s journey I have traveled life’s rough roads, turning love’s ideal into perfect rituals. I walked along the desert with my hardships and burned my feet in the sands in an infinite yearning for the infinite. Translation: Carla Cao and Ruben Cao. Contributor An entity responsible for making contributions to the resource Alejo Valdés Pica (poetry) Carla Cao and Ruben Cao (translation) 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/675">Andres Luz</a> Length 13:30 URL <a href="https://seamusonline.org/work/premonitions-landscape-at-twilight-for-electronic-fixed-media-2017/">SEAMUS Database</a> <a href="https://soundcloud.com/andresrluz/premonitions">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 Premonitions, Landscape at Twilight for electronic fixed media Date A point or period of time associated with an event in the lifecycle of the resource 2017 Description An account of the resource <div class="sc-type-small sc-text-body"> <div> Premonitions, Landscape at Twilight for electronic fixed media (2017) is based upon Salvador Dali’s pastoral, Spider of the Evening (1940). In this work we see the painter’s signature depiction of misshapen figures: a stretched female nude, a molten cello, and a softened airplane; each of which have lost their familiar rigidity, existing beyond the boundaries of conscious reality. These are cast before long shadows in an arid landscape at sundown. Amidst the leafless olive tree, the weeping cherub, and the two lonesome figures dancing a dispirited Spanish sardana, we are witness to a scene that is both apocalyptic and tragic. Salvador Dali drew from French peasant folklore which claims that the sight of a spider in the evening was auspicious, a sign that must have filled the artist with the hope for a speedy end to armed conflict. However, history shows that the war was still to proceed for another five tumultuous years, the worst of the devastation yet to unfold. In our time, the U.S. has been at war continuously for numerous years. Although much has been done to dominate and suppress our adversaries to preserve our way of life, much has also been spent in the cost to life, limb, peace of mind, and property for an incalculable many along the way. In our time, there is talk of endless war. In our time, there are those who wield great power and influence to profit from the pursuit of war at the expense of untold others. There are never any easy solutions to dire political conflicts, but there are arguably far fewer persuasive justifications for the scale of terror and destruction that affects innocent, vulnerable lives as a consequence of war. The recorded cello samples featured in Premonitions, Landscape at Twilight were drawn from an improvisation by Noah Johnson at the Dancz Center of New Music, Hugh Hogdson School of Music, University of Georgia, Athens, on 08MAY17. Note: It is recommended, but not required, to project an image of Dali’s Spider of the Evening during playback of the work in a darkened hall. </div> </div> Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant https://soundcloud.com/andresrluz/premonitions 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/704">James Budinich</a> Instrumentation soprano, viola, fixed electronics Length 18:00 URL <a href="https://seamusonline.org/work/separate-realities/">SEAMUS Database</a> <a href="https://soundcloud.com/james-budinich/separate-realities-iv-hildegard">SoundCloud</a> <a href="http://jamesbudinich.bandcamp.com/album/separate-realities">bandcamp</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 Separate Realities Date A point or period of time associated with an event in the lifecycle of the resource 2016 Description An account of the resource Inspired by the spiritual visions of five individuals 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/705">Aaron Hynds</a> Instrumentation Chinese flute and live electronics Length 10:00 URL <a href="https://seamusonline.org/work/terminal-loop/">SEAMUS Database</a> <a href="http://aaronhynds.weebly.com/uploads/1/4/9/3/14936478/terminal_loop__new_score_.pdf">Score download</a> <a href="https://soundcloud.com/aaron-hynds/sediment-sci-national-conference-performance-11-19-2016">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 terminal loop Date A point or period of time associated with an event in the lifecycle of the resource 2016 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/705">Aaron Hynds</a> Instrumentation 3 bass drums and electronics Length 15:00 URL <a href="https://seamusonline.org/work/sediment/">SEAMUS Database</a> <a href="https://soundcloud.com/aaron-hynds/sediment-for-3-bass-drums-and-electronics-world-premiere">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 Sediment Date A point or period of time associated with an event in the lifecycle of the resource 2015 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/706">Christopher Hopkins</a> Instrumentation The current version (2009) is for C flute, although the original version (2006) was for alto flute and an opportunity to remix the electroacoustic sound with a new performance on this lower flute would be welcome. Assistant to perform audio cues. For concert performance the use of a footswitch by the flutist can detract from the drama of the work, so the audio files are best performed by an offstage assistant (often from the sound reinforcement console). The person performing cues should be able to read a musical score and take visual and aural cues from the flutist. Length 8:30 Technology Requirements The flute is normally amplified into on-stage speakers not used for the audio files, using reverberation in a live mix indicated by the score. The electroacoustic sound is performed from cues to start playback of quadraphonic sound files, and mixed into a quadrilateral speaker setup surrounding the audience. An alternate stereo version is available. The choice of software to perform the audio cues is up to the performer. Playback of the audio files must allow overlap, where one audio file can begin as the previous finishes. No more than two layers are required. There is a simple Max patch supplied for performance and rehearsal. An additional patch is supplied for an individual alone to practice in stereo with selection of a MIDI controller input to advance cues. These patches have been tested for Max 5 or later. URL <a href="https://seamusonline.org/work/the-animus-winds/">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 The Animus Winds Date A point or period of time associated with an event in the lifecycle of the resource 2009 Description An account of the resource The Animus Winds is a composition for flute and electroacoustic sound. Thematically, the composition explores an opposition of two perceptions: the sensual experience of wind against a personification of wind as a supernatural force. The electroacoustic sound recolors and reshapes recordings of wind and flutes, such that flutes take on characteristics of the wind, and wind takes on both musical and vocal qualities. There is also a dramatic schema, in which the flute takes the role of a person who is at times drawn into the natural spirit of the wind, and at other times strongly confronts its more hostile animus. 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/706">Christopher Hopkins</a> Instrumentation two clarinets and electroacoustic sound Length 10:00 Technology Requirements The choice of software to perform the audio cues is up to the performer. Playback of the audio files must allow overlap, where one audio file can begin as the previous finishes. No more than two layers are required. There is a simple Max patch supplied for performance and rehearsal. An additional patch is supplied for an individual alone to practice in stereo with selection of a MIDI controller input to advance cues. These patches have been tested for Max 5 or later. URL <a href="https://seamusonline.org/work/touche/">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 Touché Date A point or period of time associated with an event in the lifecycle of the resource 2009 Description An account of the resource Touché is a single movement duo-concertante in a toccata style. Two clarinet soloists are united in a musical contest, between themselves and together in opposition to an ensemble of synthetic clarinets automated from computer software. The toccata paradigm emphasizes the immediacy of touch upon the instruments, which traditionally serves to allow idioms of virtuosic performance to take the lead in determining musical form. Touché also takes the idea of musical touch to a yet more detailed level, that of articulation, the specific qualities of attack upon and the subsequent shaping of the musical tones. Here, therefore, the emphasis is on how the tones themselves are touched. The synthetic clarinets in particular emphasize these articulations, being made artificially sharp and separated, or more rarely, artificially dulled. There are also important shaping gestures, such as sudden swellings of tone with pointed conclusions, that suggest the rhythmic interchange of swordplay, notably fencing—en-garde. 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/706">Christopher Hopkins</a> Instrumentation for flute (with alto flute), bass clarinet, harp, marimba and electroacoustic sound/computer playback Length 10:30 Technology Requirements There is a quadraphonic version, which is preferred. <div class="page"> <div class="layoutArea"> <div class="column"> The choice of software to perform the audio cues is up to the performer. Playback of the audio files must allow overlap, where one audio file can begin as the previous finishes. No more than two layers are required. There is a simple Max patch supplied for performance and rehearsal. An additional patch is supplied for an individual alone to practice in stereo with selection of a MIDI controller input to advance cues. These patches have been tested for Max 5 or later. </div> </div> </div> URL <a href="https://seamusonline.org/work/the-mirror-of-enigma/">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 The Mirror of Enigma 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 c_hopkins Description An account of the resource The Mirror of Enigma (2004/2008) interprets antiphonal form in relation to the programmatic idea of an enigmatic mirror—a mirror that reveals a coexistent space in which behaviors and meanings appear in mysterious relations. There are three movements. The first, “Videmus nunc per Speculum in Aenigmate” — we see now through a mirror in an enigma, presents an initial confrontation with the enigmatic mirror. In the second movement, Images Fugitives, reflections take flight within the mirror, then in the concluding movement, Transfiguration and Ecstasy, the reflections are mysteriously transfigured and attain a state of ecstasy. The electroacoustic sounds are created from recombining transformed spectra of harp tones, as well as from samples of the instruments played in the acoustic ensemble. 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/706">Christopher Hopkins</a> Instrumentation for bowed piano and electroacoustic sound (computer) Length 14:30 Technology Requirements Quadraphonic sound file. Performer needs to follow clock display. URL <a href="https://seamusonline.org/work/arched-interiors-ii/">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 Arched Interiors II Date A point or period of time associated with an event in the lifecycle of the resource 2008 Description An account of the resource Arched Interiors II (2008) is a musical composition for piano and electro-acoustically transformed sound. The mode of performance for the piano involves bowing and scraping the strings to produce timbral modulations shaped directly by the physical gesture. These sound-gestures provide both the motivic foundation for the composition and the recorded source audio for development of the electroacoustic sound. The original version of Arched Interiors was written in 1991 for Margaret Leng Tan, and premiered by her in 1992 in the ORF Funkhaus Wien. This original version, as well as another, Double Arched Interiors for two pianos without electroacoustic sound, included additional passages focused on complex plucking techniques.