26 10 868 Composition An original work. Instrumentation pipa and electronics Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 13:00 URL <a href="https://seamusonline.org/work/behind-the-back/">SEAMUS Database</a> <a href="https://soundcloud.com/timroycomposer/behindtheback">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 Behind the Back Date A point or period of time associated with an event in the lifecycle of the resource 2016 Creator An entity primarily responsible for making the resource <a href="https://compel-dev.vtlibraries.net/items/show/676">Timothy Roy</a> Description An account of the resource Work for pipa (traditional Chinese lute) and electronics (triggered fixed media and some live processing). Commissioned by The Little Giant Chinese Chamber Orchestra for Su Yun-Han. The musical inspiration for this piece comes from my fascination with the murals of the Mogao Caves in Dunhuang, China. The artwork famously depicts musicians performing while dancing and flying though the air. One image – that of a woman playing pipa behind her back – is so iconic that many Chinese dancers train in order to recreate her graceful pose. Behind the Back alludes to the ceremonial atmosphere of the Mogao murals while imagining the sort of music provided by the acrobatic women depicted within – a music which incorporates passages suggestive of dance and aerial maneuvers. At all times, the virtuosity and lyricism of the pipa is the focal point. Composition An original work. Instrumentation toy piano and fixed electronics Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 10:00 URL <a href="https://seamusonline.org/work/wunderkind/">SEAMUS Database</a> <a href="https://vimeo.com/54785345">Vimeo</a> <a href="https://soundcloud.com/timroycomposer/wunderkind">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 Wunderkind 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/676">Timothy Roy</a> Description An account of the resource <div class="work-body"> “Wunderkind” is a well-known German term historically applied to a person who possesses an extraordinary talent or brilliance (particularly musical) at an early age. The creative impetus for this work was the desire to explore the intellectual workings of a developing child prodigy, the electronic component used to expand the palette of such a restricted instrument while representing the mind’s ear of the child. The opening cadenza begins clumsily as the “child” seemingly explores the instrument for the first time. Musical ideas begin to mature, congeal, and find meaning. The fixed media playback begins after two minutes of solo, and a complex and harmonically-saturated sound world emerges from and interacts with performed gestures, meant to be perceived as imagined musical structures, astonishingly advanced for a mere child. All of the sounds in the fixed media were created by recording and processing my own toy piano. Wunderkind was awarded First Prize in the 2013 Prix Destellos competition, mixed media category. </div> Composition An original work. Instrumentation fixed media Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 5:12 URL <a href="https://seamusonline.org/work/ghosts-of-cluny/">SEAMUS Database</a> <a href="https://soundcloud.com/timroycomposer/cluny">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 Ghosts of Cluny Date A point or period of time associated with an event in the lifecycle of the resource 2010 Creator An entity primarily responsible for making the resource <a href="https://compel-dev.vtlibraries.net/items/show/676">Timothy Roy</a> Description An account of the resource The Benedictine Abbey of Cluny, established in 910 by William I of Aquitaine, was the leading center of monasticism in the Middle Ages and boasted the largest church in Christendom prior to the 16th-century reconstruction of St. Peter’s Basilica in Rome. Today only the bell tower of the church and a fraction of the great abbey remain, having been devastated by plundering during the French Revolution. Otherworldly echoes of the millennium-old ruins resound in Ghosts of Cluny, a piece which evokes both the sacredness and the immense acoustic space of the former monastery. The work was realized in the IMPACT Center at the University of Missouri-Kansas City, and was named a Finalist in the International Composition Competition “Città di Udine,” ninth edition. Composition An original work. Instrumentation For violin duo and electronics Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 14:00 Multimedia Elements video score Hardware Requirements laptop; stereo speaker setup; amplification for performers; monitor for performers to view the score URL <a href="https://seamusonline.org/work/break-free/">SEAMUS Database</a> <a href="https://www.youtube.com/watch?v=X7eSr3rWhEI">YouTube</a> <a href="http://www.nicolaschuaqui.com/breakfree.html#.V4qMySMrKRY">Chuaqui's 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 Break Free 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/677">Nicolas Chuaqui</a> Language A language of the resource https://seamusonline.org/?post_type=work&p=4640 Description An account of the resource A paper score is not used for performance; because there is very little to no sense of pulse in large parts of the work, video files of the scrolling score are provided (in three segments), for the players to read from. These files include the piece’s audio as well. A good set-up is: one person cueing the 3 videos on a laptop, which is fed to a larger monitor for the players to read from. Stereo audio comes out from the laptop. The only other component is the separate amplification of the violins, for blend purposes. Composition An original work. Instrumentation For guitar and electronics Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 7:00 URL <a href="https://seamusonline.org/work/desert-presence/">SEAMUS Database</a> <a href="https://www.youtube.com/watch?v=_6DTNCh1K3M">YouTube</a> <a href="http://www.nicolaschuaqui.com/desertpresence.html#.V4qPHCMrKRY">Chuaqui's 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 Desert Presence 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/677">Nicolas Chuaqui</a> Description An account of the resource <div class="work-body"> Desert Presence reminisces on the landscape of the American West, dwelling on how the vast, open spaces of the region are both “quiet” and “loud:” silent and empty, but also overwhelming because of that very emptiness in such large space. The performer interacts in dialogue with an unseen presence. As this back-and-forth develops, the two voices begin to come together as echoes of one another, creating a fleeting sense of union between the known and unknown. The piece is performed through Max/MSP, using both recorded sounds and live processing of the guitar and electronics during the performance. Cues specified in the score determine the entrances of electronic elements; some sounds are triggered by volume choices made by the performer, while others use randomization. The cues may be controlled by the performer, with a pedal, or an outside person. The guitarist must be playing into a microphone, both for balance and to make use of the live electronics. </div> Composition An original work. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 5:33 URL <a href="https://seamusonline.org/work/antagonism-constellation-factory/">SEAMUS Database</a> <a href="https://www.youtube.com/watch?v=30Hz9tG-30k">YouTube</a> <a href="http://www.nicolaschuaqui.com/antagonism.html#.V4qXhyMrKRY">Chuaqui's 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 Antagonism Constellation Factory 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/677">Nicolas Chuaqui</a> Description An account of the resource Stereo fixed media; found and synthesized sounds In this electronic piece I used the temporal aspect of the material to create contrast; instead of transforming the material over the course of the piece, I tried to make the sounds stay largely the same and build the piece out of the subtleties of the relationship between them. The opening section puts sounds that seemingly have little in common in close proximity; the relationship is not developed, and instead a contrasting section begins, which soon ends up combining with the opening sounds. The resolution of this section is not what would be expected, and instead the sounds are finally transformed into something new; this, however, is short-lived. In a manner similar to Varèse’s Poème électronique, the piece focuses on the unexpected, and creates an evocative narrative through the juxtaposition of material; Antagonism Constellation Factory presents this narrative in a terse and sometimes antagonistic fashion. Composition An original work. URL <a href="https://soundcloud.com/brianriordan/redundancy-in-perceptual-and-linguistic-experience">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 Redundancy in Perceptual and Linguistic Experience Date A point or period of time associated with an event in the lifecycle of the resource 2016 Creator An entity primarily responsible for making the resource <a href="https://compel-dev.vtlibraries.net/items/show/678">Brian Riordan</a> Description An account of the resource Algorithmic text based programming; Nyquist Programming Language Composition An original work. Instrumentation for flute and live electronics (one performer) URL <a href="https://soundcloud.com/brianriordan/aphantasia">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 Aphantasia Date A point or period of time associated with an event in the lifecycle of the resource 2016 Creator An entity primarily responsible for making the resource <a href="https://compel-dev.vtlibraries.net/items/show/678">Brian Riordan</a> Composition An original work. Instrumentation Improvisatory mobile-form soundscape (Flute, Bb Clarinet) Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 11:00-13:00 URL <a href="https://seamusonline.org/work/bowing-to-the-roaring-storm-their-songs-never-cease/">SEAMUS Database</a> <a href="https://soundcloud.com/jon-fielder/bowing-to-the-roaring-storm-their-songs-never-cease">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 Bowing to the Roaring Storm, Their Songs Never Cease 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/679">Jon Fielder</a> Composition An original work. Instrumentation Oboe and live electronics Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 12:00 URL <a href="https://seamusonline.org/work/fractured-memories/">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 Fractured Memories 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/679">Jon Fielder</a> Description An account of the resource Fractured Memories is a piece that explores some thoughts I’ve had on my own perception of memory and thinking about the past. The piece presents and opening idea (the memory) and the rest of the piece a reworking of that idea in a dialog between the oboe and electronics. At times the memory is retold with refined accuracy, sometimes it is distorted, sometimes it’s made out to be more exciting than it actually was. The final section of the piece acts as the final retelling of the memory with fragments of each distorted re-imagining making their way into the musical fabric. Is it a true account of what originally took place? Maybe not, but the importance is more with the journey from beginning to end.