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              <text>&lt;a href="https://soundcloud.com/bmoodyvid/palm-tree-escape"&gt;Palm Tree Escape on SoundCloud&lt;/a&gt;</text>
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              <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/724"&gt;Brad Moody&lt;/a&gt;</text>
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                <text>Palm Tree Escape is a work in progress relating to the semiotic relationship with escape or paradise with the palm tree image. This work was composed absorbing sounds recorded from the palm tree itself using shotgun and contact microphones. The recorded audio was then manipulated and arranged to create this work. The piece heard is part of a larger interactive sound installation incorporating an image of the palm tree, manipulated filed recordings, video monitor, circuit board and Max.</text>
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              <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/288"&gt;&lt;em&gt;Die Herrlichkeit Loch in den Bundling Bord &lt;/em&gt;(2011)&lt;/a&gt;&lt;em&gt;&lt;br /&gt;&lt;a href="https://compel-dev.vtlibraries.net/items/show/289"&gt;N'air sur le lit &lt;/a&gt;&lt;/em&gt;&lt;a href="https://compel-dev.vtlibraries.net/items/show/289"&gt;(2013)&lt;/a&gt;&lt;em&gt;&lt;br /&gt;&lt;/em&gt;</text>
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              <text>&lt;a href="http://compel-dev.vtlibraries.net/items/show/222"&gt;&lt;em&gt;Wood Machine Music&lt;/em&gt; (2009)&lt;/a&gt;&lt;br /&gt;&lt;a href="http://compel-dev.vtlibraries.net/items/show/221"&gt;&lt;em&gt;Of Dust and Sand&lt;/em&gt; (2010)&lt;/a&gt;&lt;br /&gt;&lt;a href="http://compel-dev.vtlibraries.net/items/show/223"&gt;&lt;em&gt;Solis-EA&lt;/em&gt; (2011)&lt;/a&gt;&lt;br /&gt;&lt;a href="http://compel-dev.vtlibraries.net/items/show/225"&gt;&lt;em&gt;Shadows of the Electric Moon &lt;/em&gt;&lt;/a&gt;&lt;a href="http://compel-dev.vtlibraries.net/items/show/225"&gt;(2013)&lt;/a&gt;&lt;br /&gt;&lt;a href="http://compel-dev.vtlibraries.net/items/show/224"&gt;&lt;em&gt;Solis Overture&lt;/em&gt; (2014)&lt;/a&gt;</text>
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              <text>Peter Van Zandt Lane is an American composer of instrumental and electroacoustic concert music. Recipient of the 2018 Charles Ives Fellowship from the American Academy of Arts and Letters, Peter has received fellowships from Copland House, Composers Now, Yaddo, and MacDowell Colony. Recent works include Radix Tyrannis, a concerto for Joseph Alessi commissioned by American Chamber Winds, Piano Quartet: The Longitude Problem commissioned by the Atlanta Chamber Players, and Chamber Symphony commissioned by the Barlow Endowment for EQ Ensemble (Boston). His electroacoustic ballet for Juventas Ensemble (Boston) and the People Movers Contemporary Dance (Brooklyn), HackPolitik, was a New York Times Critic’s Pick, praised for “exploring anarchy and activism in a refreshingly relevant way.” Peter holds degrees from Brandeis University and the University of Miami Frost School of Music, and is currently Associate Professor of Composition at the University of Georgia Hugh Hodgson School of Music in Athens, Georgia.</text>
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              <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/250"&gt;&lt;em&gt;Driftwood Box Puzzle &lt;/em&gt;&lt;/a&gt;&lt;a href="https://compel-dev.vtlibraries.net/items/show/250"&gt;(2013)&lt;/a&gt;&lt;br /&gt;&lt;a href="https://compel-dev.vtlibraries.net/items/show/249"&gt;&lt;em&gt;Monochrome Variations&lt;/em&gt; (2012)&lt;/a&gt;</text>
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                <text>Plasticine explores the organic and gestural aspects as well as the semi-chaotic and generative possibilities afforded by modular synthesis, specifically the Eurorack format, in the context of electroacoustic composition. The plasticity and malleability of sound, space, and motion is a central theme to the composition. The piece focuses on the juxtaposition of abstract synthesized sounds and natural sound textures.</text>
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                <text>The totality of the acoustic material. Excavated, mutilated. Sublimated and deposited. The One that is fragmented and reduced to dust. Chalk blocks engraved and carved through the space and elasticity of time. Polvere nera is divided into four sections, bounded by sudden stops and static poses, in which there is an incessant dialogue between two opposing formal poles: bands and points. In the end the dialogue becomes union through a process of massification of the material that does not however cancel the intrinsic differences of the models employed. Polvere nera was constructed using noise, synthesis sounds and percussive sounds.</text>
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              <text>&lt;a href="https://seamusonline.org/work/prelude/"&gt;SEAMUS Database&lt;/a&gt;&lt;br /&gt;&lt;a href="http://media.dartmouth.edu/~jonesmedia/Appleton/APP1091.mp3"&gt;Listen to Prelude&lt;/a&gt;</text>
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                <text>Live Synclavier piece recorded January 12, 1980.</text>
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  <item itemId="938" public="1" featured="0">
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      <name>Composition</name>
      <description>An original work. </description>
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          <element elementId="50">
            <name>Title</name>
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                <text>Projections</text>
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                <text>Projections was composed for American Music Theatre Project at Northwestern University and the University of California at Davis Department of Theatre &amp;amp; Dance production {re: CLICK], a digital performance in response to the play “Click” by Jacqueline Goldfinger. The fundamental questions explored in the play, as well as my piece are: What is my body in the Internet? What does post-traumatic growth look like in the digital age? Who tells your story? With this piece, I’ve expressed these questions and answers sonically, in an abstract sound-world of pedestrian, concrete, and artificial sounds.</text>
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