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Martha Craven Nussbaum discusses her book "Love's Knowledge" and her work as an expert witness on Colorado's Amendment 2 dealing with sexual orientation and state laws.
Mary Gaston's has a great sensibility towards Jane Austen's literature. She discusses the morality and romanticism of Jane Austen's novels made into films (Emma, Sense and Sensibility).
Mary Hugues discusses her position as the Landscape Architect at the University of Virginia, and what landscape architecture entails. She focuses on the importance given to large scale public design projects in the work of landscape architects.
Mary Rorty, professor of philosophy and bioethics at the University of Virginia, discusses bio-medical ethics as a movement that began in the 1960s and its recent institutionalization.
Michelle Kisliuk, professor of Music at the University of Virginia, discusses the transgeneric culture process through music focusing on socio-aesthetic.
Miki Liszt, dancer and founder of the Miki Liszt Dance Company, discusses her latest modern dance performance based on the book Veils and Words as an avenue of self-exploration and the veil as an Iranian-born woman.
Ning de Coninck-Smith, Professor of Education at Odense University in Denmark, discusses the history of child laborers in the five Scandinavian countries and the concept of children as social agents.
Phillip Troutman, research fellow at the Carter G. Woodson Institute at the University of Virginia, discusses his dissertation focusing on family and market geography in the slave migration patterns in Antebellum Virginia.
Phyllis Lefller, director of the institute of public history at the University of Virginia, discusses the project of collecting the history of 9,500 women at the University of Virginia from 1920 to 1972.
Rae Blumberg, professor of sociology at the University of Virginia, continues her discussion of policy implications on gender in economic development during the African food crisis.
Rae Blumberg, professor of sociology at the University of Virginia, discusses policy implications on economic development research carried out in 31 different countries in all continents.
Rebecca Young, 1999-2000 Bayly McIntire Graduate Student Fellow, discusses her dissertation that focuses on the relationship of non-conformist communities to art production in San Francisco in 1950's- '60s and her latest curation "African American Graphic Work of Contemporary Women Artists."
Sandi Cooper, the Chair of the University Faculty Senate and professor of European History at CUNY, discusses her talk for the Curry School of Education regarding the endangered fate of public higher education. She focuses on New York City mayor's critique on the open-enrollment of public higher education.
Sharon Hays, professor at the University of Virginia, discusses her book The Cultural Contradictions of Motherhood, and the idea of intensive mothering is an ideological construct.
Stephen Margulies, curator of works on paper at the Bayly Art Museum, discusses his new exhibit "The Power of Woe, the Power of Life: Images of Women in Prints from the Renaissance to the Present" and where his inspiration came from.
Stephen Margulies, curator of works on paper at the Bayly Art Museum, discusses his inspiration for the latest exhibit: Universes in Coalition- Men and Women in 19th Century Japanese Prints.
Susan Fraiman, associate professor of English at the University of Virginia, discusses "Crashing the Party: Women in the Academy Now" and feminist literary criticism.
Susan Fraiman, associate professor of English at the University of Virginia, discusses sex in the White House with a feminist lens, the issues over oral sex, and the public's perception of Monica Lewinski.
Virginia Himes, professor of Anthropology at the University of Virginia, discusses her course on Native American women using their published life histories.
Xiaolin Li was born in mainland China and obtained her PhD from the University of Maryland focusing on women in the military; in this episode she discusses Mulan and the history of women warriors in China.
Concert II
Saturday February 22, 2020 at 8:00 pm Old Cabell Hall
featuring Olivia Block
Zipper Music - Judith Shatin
Cameron Church and Nelly Zevitz, zippers Max Tfirn, controller
A Chinese Triptych - Juan Carlos Vasquez
Sonic Physiography of a Time-Stretched Glacier - Matthew Burtner
for percussion and computer, I-Jen Fang, percussion
palimpsest | erasedGavotte (Himno de los durmientes II or Los Olvidados) -Omar Fraire
Reverie - Leah Reid
Locked In - Michele Zaccagnini
I-Jen Fang, percussion
October, 1984 - Olivia Block
Concert II — Program Notes Zipper Music — Judith Shatin
Zipper Music is scored for 2 amplified zipper players with interactive electronics performed by either 1 or 2 MIDI controllists, each operating a Max patch. Composer/technologist Max Tfirn created the Max patch in consultation with me, a process with a great deal of delightful experimentation. Zipper Music forms part of my Quotidian Music series, embracing the musicality afforded by everyday objects, and creating accessible opportunities for performers who do not have traditional musical training.
The zipper score consists of icons on a time-line grid, with specific symbols for one to four pulls, as well as a variety of symbol groupings and movement indications. There are also theatrical directions for the players as they interact with one another. The controllist(s) score consists of a line on a time-grid, whose thickness LMH (low, medium or high) indicates levels of processing, with additional shapes designed to suggest degree of sharpness and suddenness of knob and slider change. A flat line indicates amplification without further processing. The piece is performable using a wide variety of controllers. Ideally, they should include multiple knobs for each of 4 – 7 sliders plus a master gain slider. However, it can easily be performed with fewer.
A Chinese Triptych — Juan Carlos Vasquez
A Chinese Triptych was composed with recordings from an extensive sound documentary made by the composer in the Chinese cities of Hangzhou, Suzhou, Shanghai, Wuxi, Harbin, and Beijing. The piece overlaps sonic events from the rural, the industrial, and the digital China in a single flowing musical discourse, attempting to represent the full range of highly contrasting ways of living in China. The piece lasts exactly 6 minutes, a number that is given in China the connotation of events “flowing smoothly.”
The form and proportion of the parts are inspired by the triptych, an art format comprised of three thematically-interrelated parts in which the middle panel is usually the largest.
Sonic Physiography of a Time-Stretched Glacier — Matthew Burtner
Sonic Physiography of a Time-Stretched Glacier (2014) was commissioned by Brandon Bell with support from the Presser Music Award. The music was created from a recording of Alaska’s Root Glacier. The unique and visceral presence of glaciers is disappearing across the planet because we live in a time of ice melting. Sonic Physiography of a Time-Stretched Glacier tries to stop the glacial melt through signal processing by freezing time, suspending the listener between droplets and a single droplet of melting ice.
palimpsest | erased Gavotte (Himno de los durmientes II or Los Olvidados) — Omar Fraire
As an exercise in the act of destruction as a creative input, I took Bach’s Gavotte en Rondo from the English Suite II and tried to play it as fast as possible, depressing the keys but trying not to hit the strings. This piece was the first one I learned on the piano; the exercise allowed me to realize how our compositional narratives read the tradition. The notion of removing what is supposed to be music, reveals a kind of unwanted sound activity that belongs more to the encounter of my body with the sound object. And of course, some notes appear but more like accidents.
Reverie — Leah Reid
Reverie is an acousmatic composition that leads the listener through an immersive fantasy centered around deconstructed music boxes. The work is comprised of eight sections that alternate between explorations of the music boxes’ gears and chimes. In the work, the music boxes’ sounds are pulled apart, exaggerated, expanded, and combined with other sounds whose timbres and textures are reminiscent of the original. As the piece unfolds, the timbres increase in spectral and textural density, and the associations become more and more fantastical. Gears are transformed into zippers, coins, chainsaws, motorcycles, and fireworks, and the chimes morph into rainstorms, all sizes of bells, pianos, and more.
Locked In — Michele Zaccagnini
This piece is written around the idea of rhythms oscillating around regular and irregular pulses. In particular, the different parts are generated by applying the idea of "non-linear sequencing," i.e., distorting the playback of a regular pattern by applying a non-linear time-line. There is no large structure in this piece, rather it is a collection of Etudes.
October, 1984 — Olivia Block
October, 1984 is a composition for found microcassette tape, electronically processed breath, organelle, field recordings, piano, and descending tones. Each emerging sound follows the envelope of the preceding sound, conveying a circular progression of aural cause and effect. In the logic of this sound world, breath causes a flood of water, piano causes descending tones. These processes accumulate over time into a roiling, unwieldily storm. Many of the lowest sounds are experienced in the body as vibrations. Through the course of sonic events, October, 1984 emphasizes themes related to time, loss, and memory.