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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>Tape; recorded from a Yamaha DSR-2000 and a Roland HS-60.</text>
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              <text>8:57</text>
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              <text>&lt;a href="https://seamusonline.org/work/shadows/"&gt;SEAMUS Database&lt;/a&gt;&lt;br /&gt;&lt;a href="https://archives.colorado.edu/repositories/3/archival_objects/41528"&gt;&lt;em&gt;Shadows &lt;/em&gt;in University of Colorado Boulder's archival collection&lt;/a&gt;</text>
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                <text>&lt;em&gt;Shadows&lt;/em&gt;</text>
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                <text>1996</text>
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            <description>An account of the resource</description>
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                <text>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.</text>
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              <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/690"&gt;Corey Cunningham&lt;/a&gt;</text>
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              <text>Fixed Media</text>
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              <text>4:30</text>
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              <text>&lt;a href="https://seamusonline.org/work/take-a-place-in-the-light/"&gt;SEAMUS Database&lt;/a&gt;&lt;br /&gt;&lt;a href="https://soundcloud.com/cunning-coreyham/take-a-place-in-the-light"&gt;SoundCloud&lt;/a&gt;</text>
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                <text>&lt;em&gt;Take a Place in the Light&lt;/em&gt;</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>2011</text>
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            <description>An account of the resource</description>
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                <text>Acousmatic Work</text>
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              <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/690"&gt;Corey Cunningham&lt;/a&gt;</text>
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              <text>&lt;a href="https://seamusonline.org/work/bind-up-my-wounds/"&gt;SEAMUS Database&lt;/a&gt;&lt;br /&gt;&lt;a href="https://soundcloud.com/cunning-coreyham/bind-up-my-wounds"&gt;SoundClouds&lt;/a&gt;</text>
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                <text>&lt;em&gt;Bind Up My Wounds&lt;/em&gt;</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>2015</text>
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            <description>An account of the resource</description>
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                <text>Acousmatic Work&lt;br /&gt;&lt;br /&gt;&lt;em&gt;Bind Up My Wounds&lt;/em&gt;, for fixed media, is an adaption of a piece originally written for an interactive dance collaboration. The work is centered around a monologue taken from Shakespeare’s “Richard III,” in which the main character, King Richard, reflects on the various acts he has committed to achieve his throne. Using this text, the work attempts to create a narrative that examines the human conscience, and one’s own awareness of it. The monologue is split into several sections, meant to depict both Richard’s consciousness as well as the external pressures and commentaries that drive his actions.</text>
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              <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/690"&gt;Corey Cunningham&lt;/a&gt;</text>
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              <text>9:46</text>
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              <text>&lt;a href="https://seamusonline.org/work/a-natural-perspective/"&gt;SEAMUS Database&lt;/a&gt;&lt;br /&gt;&lt;a href="https://www.youtube.com/watch?v=sz12MJEaTv8"&gt;YouTube&lt;/a&gt;</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>&lt;em&gt;A Natural Perspective&lt;/em&gt;</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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              <elementText elementTextId="10041">
                <text>2016</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Dance Collaboration</text>
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      <name>Composition</name>
      <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/690"&gt;Corey Cunningham&lt;/a&gt;</text>
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              <text>9:00</text>
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              <text>&lt;a href="https://seamusonline.org/work/unstrung/"&gt;SEAMUS Database&lt;/a&gt;&lt;br /&gt;&lt;a href="https://soundcloud.com/cunning-coreyham/unstrung"&gt;SoundCloud&lt;/a&gt;</text>
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                <text>&lt;em&gt;Unstrung&lt;/em&gt;</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>2016</text>
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                <text>Acousmatic Work&lt;br /&gt;&lt;br /&gt;As a guitarist, I spend what seems like an inordinate amount of time changing strings. Unlike those found on a bowed string instrument, guitar strings are relatively brittle and need to be changed often. While spending countless hours going through the familiar ritual, I became interested in the sound world created through the act of clipping and removing strings from a guitar. These sounds were both alien and somehow instantly recognizable, the product of an instrument being manipulated in a way that is seldom seen in a performance setting. In part, this opposition is created by the dual nature of the act itself, being both destructive and violent in the removal of the strings, as well as promising renewed creation with the installation of new ones. “Unstrung” utilizes recordings of a steel string acoustic guitar to explore all manner of unexpected and peculiar sounds created through the process of changing strings.</text>
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              <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/691"&gt;John Mayrose&lt;/a&gt;</text>
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              <text>For Alto Saxophone and Live Electronics</text>
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          <name>Length</name>
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              <text>9:00</text>
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              <text>&lt;a href="https://seamusonline.org/work/random-access/"&gt;SEAMUS Database&lt;/a&gt;&lt;br /&gt;&lt;a href="https://listen.johnmayrose.com/track/random-access"&gt;John Mayrose's website&lt;/a&gt;</text>
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                <text>&lt;em&gt;Random Access&lt;/em&gt;</text>
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            <name>Date</name>
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                <text>2015</text>
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                <text>The title &lt;em&gt;Random Access&lt;/em&gt; reflects the process used with random access memory (RAM) in computer hardware, where all incoming data can be stored and small chunks of data can be retrieved regardless of the order in which it was stored. Similarly, in Random Access all of the input from the live saxophonist is stored in the computer’s RAM. As the piece progresses, short samples of the performer are retrieved and reordered to create new contrapuntal lines. The piece begins with a simple duet between the live saxophone and the reordered material, but gradually evolves to large orchestra of sampled saxophones. While the title may imply that the retrieval process is random, it is anything but random; the input from the saxophone is precisely scripted and all electronic sounds created live.</text>
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              <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/692"&gt;Tina Tallon&lt;/a&gt;</text>
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              <text>for solo percussion (drum set + temple blocks) and live electronics</text>
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          <name>Length</name>
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              <text>6:30 </text>
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              <text>&lt;a href="https://seamusonline.org/work/excision-no-1/"&gt;SEAMUS Database&lt;/a&gt;&lt;br /&gt;&lt;a href="https://soundcloud.com/ttallon/excision-no-1-2015"&gt;SoundCloud&lt;/a&gt;&lt;br /&gt;&lt;a href="http://tinatallon.com/compositions/excision-no-1/"&gt;Tina Tallon's website&lt;/a&gt;</text>
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                <text>&lt;em&gt;excision no. 1&lt;/em&gt;</text>
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              <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/618"&gt;Benjamin O'Brien&lt;/a&gt;</text>
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              <text>&lt;a href="https://seamusonline.org/work/sequence-et-vitesse/"&gt;SEAMUS Database&lt;/a&gt;</text>
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                <text>&lt;em&gt;Séquence et Vitesse&lt;/em&gt;</text>
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                <text>2016</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Interactive audio and visuals</text>
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              <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/693"&gt;Seth Thorn&lt;/a&gt;</text>
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              <text>viola, live electronics, and glove controller</text>
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          <name>Length</name>
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              <text>12:00</text>
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              <text>&lt;a href="https://seamusonline.org/work/verdacht/"&gt;SEAMUS Database&lt;/a&gt;&lt;br /&gt;&lt;a href="https://vimeo.com/195704041"&gt;Vimeo&lt;/a&gt;</text>
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            <name>Title</name>
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                <text>&lt;em&gt;Verdacht&lt;/em&gt;</text>
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            <name>Date</name>
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                <text>12-minute piece for viola, live electronics, and glove controller. &lt;br /&gt;&lt;br /&gt;&lt;em&gt;Verdacht&lt;/em&gt; situates the viola in a “suspicious” context, bookended by a chaotic punk-aesthetic, extended with a glove made specifically for it, also acting as an autonomous controller here. Fully notated, with space for rhythmic and melodic improvisation in a fixed order of scenes. Contextual sounds are produced on the fly from live samples looped or frozen with extreme panning – again, a suspicious context for the instrument, stylistically approached in this piece maniacally but traditionally.</text>
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              <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/693"&gt;Seth Thorn&lt;/a&gt;</text>
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              <text>viola and computer</text>
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              <text>&lt;a href="https://seamusonline.org/work/tacna-three/"&gt;SEAMUS Database&lt;/a&gt;&lt;br /&gt;&lt;a href="https://vimeo.com/190618838"&gt;Vimeo&lt;/a&gt;</text>
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                <text>&lt;em&gt;Tacna Three&lt;/em&gt;</text>
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            <name>Date</name>
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                <text>6-MINUTE PIECE FOR VIOLA, LIVE ELECTRONICS, AND GLOVE CONTROLLER</text>
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            <name>Coverage</name>
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                <text>https://vimeo.com/190618838</text>
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