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              <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/713"&gt;Ewa Trebacz&lt;/a&gt;</text>
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              <text>&lt;a href="https://seamusonline.org/work/spinning-zone/"&gt;SEAMUS Database&lt;/a&gt;&lt;br /&gt;&lt;a href="https://youtu.be/JnlQYD3aBb8"&gt;YouTube&lt;/a&gt;&lt;br /&gt;&lt;a href="http://ewatrebacz.com/works/spinning-zone/"&gt;Trebacz's website&lt;/a&gt;&lt;br /&gt;&lt;a href="http://ewatrebacz.com/works/spinning-zone/downloads/"&gt;Electronics, recordings, and rehearsal audio for download&lt;/a&gt;</text>
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                <text>&lt;em&gt;Spinning Zone&lt;/em&gt;</text>
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                <text>2002</text>
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              <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/713"&gt;Ewa Trebacz&lt;/a&gt;</text>
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              <text>for Ambisonic space and symphony orchestra</text>
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              <text>&lt;a href="https://seamusonline.org/work/things-lost-things-invisible/"&gt;SEAMUS Database&lt;/a&gt;&lt;br /&gt;&lt;a href="https://soundcloud.com/user-905656918/things-lost-things-invisible"&gt;SoundCloud&lt;/a&gt;&lt;br /&gt;&lt;a href="http://ewatrebacz.com/works/things-lost-things-invisible/downloads/"&gt;Download the score, parts, electronics, and other materials here.&lt;/a&gt;</text>
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                <text>&lt;em&gt;things lost things invisible&lt;/em&gt;</text>
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              <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/713"&gt;Ewa Trebacz&lt;/a&gt;</text>
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              <text>invisible soprano, ensemble [Flute (1), Clarinet in Bb (1), French horn (1), Percussion (1 ), Violins (2), Viola (1), Cello (1), Double Bass (1)] and surround sound</text>
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              <text>&lt;a href="https://seamusonline.org/work/ligeia/"&gt;SEAMUS Database&lt;/a&gt;&lt;br /&gt;&lt;a href="https://soundcloud.com/user-905656918/ligeia-for-invisible-soprano-ensemble-and-surround-sound"&gt;SoundCloud&lt;/a&gt;&lt;br /&gt;&lt;a href="http://ewatrebacz.com/ligeia/Ligeia_SecInv_remix.wav"&gt;Trebacz' website&lt;/a&gt;&lt;br /&gt;&lt;a href="http://ewatrebacz.com/works/ligeia/downloads/"&gt;Download full concert recordings, program notes, and electronics&lt;/a&gt;</text>
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              <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/713"&gt;Ewa Trebacz&lt;/a&gt;</text>
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              <text>&lt;a href="https://seamusonline.org/work/anclsunr/"&gt;SEAMUS Database&lt;/a&gt;&lt;br /&gt;&lt;a href="https://soundcloud.com/user-905656918/anclsunr-remix-2013-polish"&gt;SoundCloud&lt;/a&gt;&lt;br /&gt;&lt;a href="http://ewatrebacz.com/ancl/"&gt;Trebacz's website&lt;/a&gt;</text>
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                <text>&lt;em&gt;ANC'L'SUNR&lt;/em&gt;</text>
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                <text>2013</text>
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                <text>Spatial Soundscape with Orchestra in the Foreground</text>
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              <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/713"&gt;Ewa Trebacz&lt;/a&gt;</text>
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              <text>harpsichord and computer-realized sound </text>
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              <text>13:52</text>
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              <text>&lt;a href="https://seamusonline.org/work/chordochromies/"&gt;SEAMUS Database&lt;/a&gt;&lt;br /&gt;&lt;a href="http://ewatrebacz.com/works/chordochromies/downloads/"&gt;Electronics and full recordings are available for download here.&lt;/a&gt;</text>
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                <text>&lt;em&gt;Chordochromies&lt;/em&gt;</text>
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              <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/715"&gt;Alex Buehler&lt;/a&gt;</text>
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              <text>&lt;a href="https://seamusonline.org/work/cardiac-cycle/"&gt;SEAMUS Database&lt;/a&gt;&lt;br /&gt;&lt;a href="http://www.alexbuehler.com/cardiac-cycle-2013.html"&gt;Buehler's website&lt;/a&gt;</text>
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                <text>&lt;em&gt;Cardiac Cycle&lt;/em&gt;</text>
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                <text>&lt;em&gt;Cardiac Cycle &lt;/em&gt;was written with two concepts in mind; the physical blood flow through a body and the concept of computer cycles. Embedded throughout the piece is an ever accelerating heartbeat, creating a sense of increasing panic and stress. This is coupled with the calm and repetitive sounds heard in the electronics and live processing.</text>
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              <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/715"&gt;Alex Buehler&lt;/a&gt;</text>
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              <text>&lt;a href="https://seamusonline.org/work/ethereal-remission/"&gt;SEAMUS Database&lt;/a&gt;&lt;br /&gt;&lt;a href="http://www.alexbuehler.com/ethereal-remission-2013.html"&gt;Buehler's website&lt;/a&gt;</text>
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                <text>&lt;em&gt;Ethereal Remission&lt;/em&gt;</text>
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                <text>&lt;em&gt;Ethereal Remission&lt;/em&gt; (2013) was written to imitate natural and animalistic noises. The fixed media includes sounds of whale calls, elk mating calls, and nightingale songs. There are three (3) parts of the piece, the first and third are imitations of the whale song and elk calls but the second part is set to contrast the other sections with percussive trombone techniques. This piece was premiered by Alex Buehler on April 26, 2012.</text>
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              <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/715"&gt;Alex Buehler&lt;/a&gt;</text>
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              <text>&lt;a href="https://seamusonline.org/work/highway-jalopy/"&gt;SEAMUS Database&lt;/a&gt;&lt;br /&gt;&lt;a href="http://www.alexbuehler.com/highway-jalopy-2013.html"&gt;Buehler's website&lt;/a&gt;</text>
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                <text>the sounds are meant to evoke a car slowly breaking down and eventually ending up on the side of a desert highway, eventually abandoned by the owner.</text>
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              <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/715"&gt;Alex Buehler&lt;/a&gt;</text>
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              <text>Flute, Live Processing</text>
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              <text>~12:30</text>
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              <text>&lt;a href="https://seamusonline.org/work/shaula-the-sting-of-scorpius/"&gt;SEAMUS Database&lt;/a&gt;&lt;br /&gt;&lt;a href="https://www.alexbuehler.com/shaula-the-sting-of-scorpius-2014.html"&gt;Website&lt;/a&gt;</text>
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                <text>&lt;em&gt;Shaula: The Sting of Scorpius&lt;/em&gt;</text>
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                <text>2014</text>
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                <text>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.&#13;
&#13;
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.</text>
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              <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/716"&gt;Francesco Bossi&lt;/a&gt;</text>
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              <text>04:40</text>
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              <text>&lt;a href="https://seamusonline.org/work/modus/"&gt;SEAMUS Database&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;Modus&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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            <name>Description</name>
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              <elementText elementTextId="11998">
                <text>a mode of procedure :a way of doing something</text>
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                <text>From the SEAMUS Database: The idea at the basis of Modus is to read an audio file at any speed and any direction.&#13;
&#13;
As anyone knows, it is possible to read an audio file faster or slower than the normal rate. It is also possible to increase (or decrease) the rate until hundred of times. The original sound is used like a periodic waveform. In this way I designed a specific synthesizer in the Max Msp environment.&#13;
&#13;
About the form, there are some recurring episodes: the can, the spring, the farm, the voice, das glashaus(the glasshouse), the ring bell.&#13;
&#13;
The audio files were three (a movie soundtrack, a drum roll and a piano prelude) and I used them one by one avoiding any type of multi tracking.&#13;
&#13;
The spectrum was also divided in eight bands by a multi-band spectral filtering system (100Hz, 200Hz, 400Hz, and so on). So each band generated a specific file to be sent to the spatialisation algorithm, managed by an Lfo.&#13;
&#13;
The result is an energetic and moving raw sound. Some times is pulsing some other is more contemplative. Hope you enjoy.</text>
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