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              <text>&lt;a href="http://compel-dev.vtlibraries.net/items/show/954"&gt;Bent Frequency &lt;/a&gt;</text>
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                <text>Hazy Moonlight</text>
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                <text>"Hazy Moonlight for soprano saxophone, percussion, and electroacoustics takes its inspiration from five haiku by poet Wally Swist:&lt;br /&gt;&lt;br /&gt;thistledown seeds the falls &lt;br /&gt;a full moon shatters &lt;br /&gt;into stars &lt;br /&gt;&lt;br /&gt;slipping through moonlight &lt;br /&gt;a waterthrush rushes &lt;br /&gt;rock to rock &lt;br /&gt;&lt;br /&gt;cloud wisps across the moon &lt;br /&gt;gusts of rain patter among &lt;br /&gt;piles of fallen leaves &lt;br /&gt;&lt;br /&gt;bracing the chill &lt;br /&gt;moonlight rushes &lt;br /&gt;in the icy river &lt;br /&gt;&lt;br /&gt;mountain laurel blossoms &lt;br /&gt;a luminous moth &lt;br /&gt;ascends into moonlight &lt;br /&gt;&lt;br /&gt;Swist’s vivid scenes depict the moon’s appearance across the seasons, creating an organic foundation for the work’s structure and soundscape. The instrumentalists’ virtuosic foray through Swist’s evocative work conjure varied images of the moon as a brilliant force, a mysterious beacon, and a luminous orb. Hazy Moonlight was commissioned by the Barlow Endowment for Music Composition at Brigham Young University for the Bent Frequency Duo, and is dedicated to both with admiration and appreciation. The haiku appear with the author’s permission and are published in Modern Haiku, The Silence Between Us (Taylorville, IL: Brooks Books, 2005), and The Windbreak Pine (Ormskirk, UK: Snapshot Press, 2016.)"</text>
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                <text>&lt;a href="http://compel-dev.vtlibraries.net/items/show/966"&gt;Elainie Lillios&lt;/a&gt;</text>
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                <text>Midwest Archives Conference 2022 Poster </text>
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                <text>This item was presented as a physical poster, 24"x36", at the 2022 Midwest Archives Conference (MAC). The physical item is held by the creator. </text>
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                <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/498"&gt;Hollis Wittman&lt;/a&gt;</text>
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                <text>Presented on Friday, May 6, 2022</text>
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                <text>The 2022 Midwest Archives Conference took place in Madison, Wisconsin.</text>
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                <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/498"&gt;Hollis Wittman&lt;/a&gt;</text>
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              <text>&lt;a href="https://seamusonline.org/work/sonification-study-no-1/"&gt;SEAMUS Database&lt;/a&gt;</text>
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              <text>&lt;p&gt;&lt;iframe width="100%" height="300" scrolling="no" frameborder="no" allow="autoplay" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/120567756&amp;amp;color=%23ff5500&amp;amp;auto_play=false&amp;amp;hide_related=false&amp;amp;show_comments=true&amp;amp;show_user=true&amp;amp;show_reposts=false&amp;amp;show_teaser=true&amp;amp;visual=true"&gt;&lt;/iframe&gt;&lt;/p&gt;&#13;
&lt;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;"&gt;&lt;a href="https://soundcloud.com/isomer-project" title="Isomer Project" target="_blank" style="color: #cccccc; text-decoration: none;" rel="noopener"&gt;Isomer Project&lt;/a&gt; · &lt;a href="https://soundcloud.com/isomer-project/sonification-study-no-1" title="Sonification Study No. 1" target="_blank" style="color: #cccccc; text-decoration: none;" rel="noopener"&gt;Sonification Study No. 1&lt;/a&gt;&lt;/div&gt;</text>
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                <text>&lt;em&gt;Sonification Study No. 1: Music from the Isomer Project&lt;br /&gt;&lt;/em&gt;</text>
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                <text>2013</text>
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                <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/615"&gt;Greg Wilder&lt;/a&gt;</text>
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                <text>By deconstructing the sonic features of a recorded sound and applying a model-based musical framework to the result, it’s possible to re-imagine the original audio in an instrumental context.</text>
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              <text>Marimba and Computer</text>
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              <text>&lt;a href="https://seamusonline.org/work/interlude/"&gt;SEAMUS Database&lt;/a&gt;&lt;br /&gt;&lt;a href="https://www.amazon.com/Precipice-Modern-Marimba-Philip-Glass/dp/B000GW8RJI"&gt;Precipice: Modern Marimba album&lt;/a&gt;</text>
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          <description>Use this field to embed video or audio recordings that the composer(s) consider representative of the piece.</description>
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              <text>&lt;p&gt;&lt;iframe width="640" height="360" src="https://player.vimeo.com/video/41671399?h=2e3cebc16f" frameborder="0" allow="autoplay; fullscreen; picture-in-picture" allowfullscreen="allowfullscreen"&gt;&lt;/iframe&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="https://vimeo.com/41671399"&gt;Interlude&lt;/a&gt; from &lt;a href="https://vimeo.com/user11583055"&gt;Greg Wilder&lt;/a&gt; on &lt;a href="https://vimeo.com"&gt;Vimeo&lt;/a&gt;.&lt;/p&gt;</text>
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                <text>&lt;em&gt;Interlude&lt;/em&gt;</text>
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                <text>2006</text>
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                <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/615"&gt;Greg Wilder&lt;/a&gt;</text>
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              <text>&lt;a href="https://seamusonline.org/work/moment-of-first-awakening/"&gt;SEAMUS Database&lt;/a&gt;</text>
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              <text>&lt;p&gt;&lt;iframe width="640" height="360" src="https://player.vimeo.com/video/42374197?h=b1dc72881f" frameborder="0" allow="autoplay; fullscreen; picture-in-picture" allowfullscreen="allowfullscreen"&gt;&lt;/iframe&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="https://vimeo.com/42374197"&gt;Moment of First Awakening&lt;/a&gt; from &lt;a href="https://vimeo.com/user11583055"&gt;Greg Wilder&lt;/a&gt; on &lt;a href="https://vimeo.com"&gt;Vimeo&lt;/a&gt;.&lt;/p&gt;</text>
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                <text>&lt;em&gt;Moment of First Awakening&lt;/em&gt;</text>
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                <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/615"&gt;Greg Wilder&lt;/a&gt;</text>
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                <text>In the spring of 1985, conductor Clive Wearing suffered from a virus that attacked his brain’s ability to form short-term memories. He was left with less than 2 minutes of recall at any given time.&#13;
&#13;
To this day, Clive keeps a journal in a stilted attempt to record his existence:&#13;
&#13;
    8:31 AM: Now I am really, completely awake.&#13;
    9:06 AM: Now I am perfectly, overwhelmingly awake.&#13;
    9:34 AM: Now I am superlatively, actually awake.&#13;
&#13;
Clive lives in a perpetual state of temporary standby. His entire awareness is limited to a tiny window of time — a momentary gap that creates for him a continuous moment of first awakening.</text>
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              <text>&lt;a href="https://seamusonline.org/work/amplifying-altitude/"&gt;SEAMUS Database&lt;/a&gt;</text>
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                <text>&lt;em&gt;Amplifying Altitude&lt;/em&gt;</text>
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                <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/615"&gt;Greg Wilder&lt;/a&gt;</text>
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                <text>site-specific, multi-channel, immersive installation</text>
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              <text>&lt;a href="https://seamusonline.org/work/infernum/"&gt;SEAMUS Database&lt;/a&gt;</text>
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              <text>&lt;p&gt;&lt;iframe width="640" height="360" src="https://player.vimeo.com/video/42868046?h=0d2ad621ab" frameborder="0" allow="autoplay; fullscreen; picture-in-picture" allowfullscreen="allowfullscreen"&gt;&lt;/iframe&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="https://vimeo.com/42868046"&gt;Infernum&lt;/a&gt; from &lt;a href="https://vimeo.com/user11583055"&gt;Greg Wilder&lt;/a&gt; on &lt;a href="https://vimeo.com"&gt;Vimeo&lt;/a&gt;.&lt;/p&gt;</text>
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                <text>&lt;em&gt;Infernum: Images from the Solar Dynamic Observatory&lt;br /&gt;&lt;/em&gt;</text>
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                <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/615"&gt;Greg Wilder&lt;/a&gt;</text>
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                <text>While Infernum is 100% an electronic work, its surface texture recalls acoustic instruments in real spaces — transformed and heightened in ways only possible through digital means. Fleeting moments of nervous calm alternate with a terrifying wall of brass glissandi (up to 60 trombones!), creating the effect of a fear-response oscillating between the conscious and subconscious.</text>
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              <text>&lt;p&gt;&lt;iframe width="100%" height="300" scrolling="no" frameborder="no" allow="autoplay" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/221293484&amp;amp;color=%23ff5500&amp;amp;auto_play=false&amp;amp;hide_related=false&amp;amp;show_comments=true&amp;amp;show_user=true&amp;amp;show_reposts=false&amp;amp;show_teaser=true&amp;amp;visual=true"&gt;&lt;/iframe&gt;&lt;/p&gt;&#13;
&lt;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;"&gt;&lt;a href="https://soundcloud.com/aksoco" title="Annika Socolofsky" target="_blank" style="color: #cccccc; text-decoration: none;" rel="noopener"&gt;Annika Socolofsky&lt;/a&gt; · &lt;a href="https://soundcloud.com/aksoco/a-sense-of-who-bang-on-a-can" title="a sense of who (2015) // Bang on a Can Summer Fest" target="_blank" style="color: #cccccc; text-decoration: none;" rel="noopener"&gt;a sense of who (2015) // Bang on a Can Summer Fest&lt;/a&gt;&lt;/div&gt;</text>
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                <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/616"&gt;Annika Socolofsky&lt;/a&gt;</text>
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                <text>Recorded by the Bang on a Can festival at MassMoCa on July 27, 2015. Instrumentation is for fixed media, clarinet, electric guitar, cello, bass, piano, and drums. The fixed media track features Evan Chambers, folk singer.&#13;
&#13;
(c) Annika K. Socolofsky 2015. ASCAP. All rights reserved.&#13;
&#13;
About the piece:&#13;
&#13;
“I find that people who come from small places have a very&#13;
strong sense of who they are.” – Nic Gareiss&#13;
&#13;
I have never come from a small place. I’ve spent my life jumping around from Edinburgh, to Chicago, to Pittsburgh—city after city after city. But in 2012, for the first time in my life, I moved to a smaller place. In Ann Arbor, Michigan my fiddle and I were swallowed, heads-first, into the traditional Irish music scene. Showing up to familiar faces and tunes and conversation at Conor O’Neill’s on Main St. every Sunday night provided a sense of community I’d never before experienced.&#13;
&#13;
Over the last few years, there’s been this microscopic point inside of me that has started to grow. That point is that sense of belonging, that sense of friendship, that sense of love, that sense of community, that sense of grounding, that inkling of a sense of who… It’s been growing. And that is everything.</text>
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              <text>&lt;a href="https://seamusonline.org/work/zelik/"&gt;SEAMUS Database&lt;/a&gt;&lt;br /&gt;&lt;a href="https://issuu.com/annikasocolofsky/docs/asocolofsky_zelik"&gt;Score- Issuu&lt;/a&gt;</text>
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                <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/616"&gt;Annika Socolofsky&lt;/a&gt;</text>
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                <text>On a Yiddish folk song. The fixed media for this piece was created by progressive equalization of triadic accordion samples, in addition to fully-composed klezmer fiddle and organ excerpts.</text>
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