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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.
Blue Desert (video installation presented in the OCH Lobby)
Peter Swendsen, music; Rian Brown Orso and Geoff Pingree, video
Migration Patterns (part 1)
Leah Barclay
Eroding
Fjóla Evans, composer
Eighth Blackbird
>19980
Lemon Guo and Mengtai Zhang
Festival of Whispers -
Matthew Burtner, composer
Eighth Blackbird
~Intermission~
Migration Patterns (part 2)
Leah Barclay
The Clarity of Cold Air
Jonathan Bailey Holland, composer
Eighth Blackbird
Migration Patterns (part 3)
Leah Barclay
Under the Sea Ice
Christopher Luna, composer
Rivanna String Quartet
Inlets
John Cage, composer
group performance
Program Notes
Blue Desert (2012)
Peter Swendsen, music; Rian Brown Orso, and Geoff Pingree video
A multi-channel video installation (seen here in triptych) shot with high- resolution cameras, BLUE DESERT was created during a two-week expedition to Antarctica in November of 2009 aboard the National Geographic Explorer by Geoff Pingree and Rian Brown-Orso. The team worked with Peter Swendsen to create the installation’s soundscape using field recordings from Antarctica as well as Swendsen’s library of sounds from Arctic Norway. The three first installed the work, for three-channel video and four-channel sound, at the Laconia Gallery in Boston in November of 2011. Antarctica is a uniquely vast and haunting panorama of ice, water, and sky. To visit this place is to glimpse a world without human beings, to observe a planet in its most primitive and elemental state, to witness the mysteriously beautiful and fearsome power of the earth. Although any attempt to represent the Antarctic is, in some sense, futile – an exercise in framing the unframeable—BLUE DESERT provides a provisional window onto a wondrous landscape that embodies, paradoxically, the ancient permanence and never-ending flux of our physical environment.
Migration Patterns: Saltwater (Queensland Coastline) (2019) Leah Barclay
Aquatic ecosystems are complex acoustic environments, where species are reliant on sound to communicate and survive. Sound propagates underwater at different speeds, affected by temperature, pressure, and salinity. The impacts of climate change are often visible in terrestrial environments, yet dramatic changes in aquatic ecosystems go unnoticed simply due to visibility. Increased anthropogenic noise and rising temperatures cause ecological disruptions that are dramatically transforming the acoustic ecologies of our oceans, rivers, and wetlands. This work explores the fragility and complexity of life in a world of sound and vibration. Drawing on a large database of hydrophone recordings from the Queensland coastline, this work traces sonic migration patterns and shifting ecologies from the smallest micro crustaceans to the largest marine mammals on the planet. The recordings focus around the Great Barrier Reef and K’Gari (Fraser Island), a major transitory point for humpbacks. The whale song adapts in response to changing environments and the recordings contribute to ongoing scientific research on the value of aquatic acoustic ecology in climate action. This sound work immerses listeners in the depths of aquatic ecosystems alongside the coastline of Queensland and transposes infrasonic and ultrasonic recordings into perceptible ranges for humans.
>19980 - Into Silence They Appear (2017-2019) Lemon Guo, music; Mengtai Zhang, video “Ten thousand things are heard when born, But the highest heaven’s always still.
Yet everything must begin in silence, And into silence it vanishes.”
-Wei Yingwu, On Sound
In Taoist macroscopic ideology, the richest sound cannot be heard, but felt. Human hearing is limited to a narrow frequency range between 20Hz and 20kHz, which split the sound not only from the maker but also from its nature. The sound exceeding this range would not be heard by the ear, but felt by the body. In this universe, infinite things are producing ultrasonic and subsonic waves around us all the time. While it has been an ancient source of poetic inspiration, the inaudible world is far from being innocent, having been exploited for its physical potential as weaponry and for surveillance since World War I. Then, what is this inaudible world really like? Driven by this question, “>19980” is an ongoing series of audiovisual exploration following the idea of the inaudible soundscape. As the first piece that started this project, “Into Silence They Appear” explores the inaudible world underwater through the call of the orca, while incorporating computer-generated imagery as an imagination of such sound world.
During the EcoSono Institute in Alaska in 2013, we collectively recorded the orca vocalization, which is much wider than the human hearing range, with hydrophones and portable recorders. While listening to bird calls in New York one day in 2017, out of curiosity, I time-stretched the inaudible frequencies from the orca recording. Incredible things happened quickly. Chords and melodies emerged. I felt like I had stumbled into an entire sound world in those perceived silence. So I simply layered the sounds, hoping to convey the sense of wonder that struck me at that moment. The visual projection employs algorithmically generated imagery, utilizing techniques such as fractal noise, geometric distortion, and particle systems. The work extends the Taoist ideas on music, reimagining sound unheard, that transcends the human experience, transforming with time and space.
Fjóla Evans: Eroding (2017)
Over thousands of years the glacial river Hvítá in Iceland has carved a deep gorge into the surrounding landscape. At one particular twist in the river, the erosion has left several huge pillars of hyaloclastite rock, which look as they were flung haphazardly into the riverbed. In fact they were revealed slowly over time from the process of the river carving away their surroundings. In Eroding, the players create a dense mass that gets worn down over time in order to reveal the spiky formations beneath the surface.
Festival of Whispers (2017) Matthew Burtner, composer
performed by Eighth Blackbird
Festival of Whispers was commissioned by the Athenaeum Library of Art and Music in La Jolla, CA as a sound installation for the SoundON Festival of Modern Music. The piece is about coastal erosion as cultural erosion. It includes a chamber ensemble work (expanded in 2019), a multichannel sound installation, and a series of headphone listening stations, any part of which can be presented independently. Listeners hear the sound of the coast through the walls and floor, as if the ocean is pushing up under the building, pulling it out into the sea stone by stone. Whispered texts drawn from the music library stacks (the writings of composers) wash off the shelves and drift out to sea. As the ocean erodes the performance space, the musicians and audience members spread whisper chains around the hall, creating a festival of whispers. The ensemble music, while evoking the collapse of culture through coastal erosion, also develops its own musical content and community, contributing to that culture even as it too is washed away. Festival of Whispers explores the quiet loss of rare cultural artifacts, an outcome of climate change often overlooked in the face of the humanitarian and economic devastation global warming brings.
Note to the audience: The musicians will cue you to whisper to your neighbor, according to the individual audience-member scores included in your program. The audience will create “whisper chains” that they pass around the hall by whispering to their neighbors. These whispers mix with the oceanic sounds projected through the speakers, a sea of water and whispers.
The Clarity of Cold Air (2013)
Jonathan Bailey Holland, composer performed by Eighth Blackbird
Jonathan Bailey Holland’s works have been commissioned and performed by numerous orchestras, including the Atlanta, Baltimore, Cincinnati, Cleveland, Dallas, Detroit, Minnesota, and Philadelphia Symphony Orchestras, as well as numerous chamber groups and soloists. A recipient of a 2015 Fromm Foundation Commission, he has received honors from the American Academy of Arts & Letters, American Music Center, ASCAP, the Presser Foundation, and more. He has served as Composer-in-Residence for the Plymouth Music Series of Minnesota, Ritz Chamber Players, Detroit and South Bend Symphony Orchestras, and the Radius Ensemble. Recent highlights include the premiere of Equality for narrator and orchestra for the Cincinnati Symphony Orchestra, and the premiere of Forged Sanctuaries by Curtis on Tour, commissioned to commemorate the centennial of National Park Service. Holland is Chair of Composition, Theory and History at Boston Conservatory at Berklee, and Faculty Chair of the Music Composition Low Residency MFA at Vermont College of Fine Arts. Previously he served as Professor of Composition at the Berklee College of Music. About The Clarity of Cold Air, Jonathan writes:
Inspired by many a cold, Northern Midwest or New England day, this work is primarily atmospheric, focusing on the sonorities achieved by blending the instruments of the ensemble in various ways. There are many stark sounds - high, glassy harmonics from the strings, bowed metallic percussion instruments, harsh multi-phonics from the winds, airy cymbal rolls.
Under the Sea Ice (2015)
Christopher Luna-Mega, composer performed by Rivanna String Quartet
Few sounds I have found to be as fascinating as those of the bearded seals from the Chukchi sea in the Arctic Ocean. My first encounter with them was a recording by Ray, Watkins and Burns. It came to me that the sounds of the bearded seals would be ideal material for strings – the constant glissandi and the high resolution microtonal nuances characteristic of seal songs can be performed by no other acoustic instruments as idiomatically. All the music performed by the string quartet derives from transcriptions of several bearded seal songs, which were generously provided to me by Joshua Jones, researcher at the Scripps Whale Acoustic Lab, University of California, San Diego. Variations of the transcriptions (mainly in pitch and duration) were based on statistics of the bearded seal repertoire from 2008-2009, included in the Jones et al. article: Ringed, Bearded, and Ribbon Seal Vocalizations North of Barrow, Alaska: Seasonal Presence and Relationship with Sea Ice. The electronics for this piece consist of a hydrophone recording of sea ice from the Chuckhi sea, also a contribution of the Scripps Whale Acoustic Lab.
John Cage, Inlets (1977)
John Cage’s Inlets for water-filled conch shells is a listening meditation to consider your personal relationship with your environment. Cage instructs that the sound of burning pine cones be played as an interlude, a sound with renewed meaning in the context of our climate crisis.
Notes on Ensembles
The Rivanna String Quartet brings vibrant concerts to Central Virginia on the grounds of the historic University of Virginia. Quartet members are dedicated to promoting collaboration, quality performances, and education throughout the community. The Rivanna String Quartet looks to find the balance between the old and new, bringing a fresh look to the string quartet’s robust and varied repertoire through collaborations with living composers and guest artists. Rivanna is the resident quartet for the McIntire Department of Music at the University of Virginia, where the members serve as faculty and as principal musicians of the Charlottesville Symphony at the University of Virginia. Individually each musician maintains an active teaching and performing schedule within the community collaborating with such organizations such as the Kluge-Ruhe Aboriginal Art Collection, Ash Lawn Opera, Monticello, Charlottesville and Albemarle school systems, and the Richmond Symphony. Members of the quartet include Daniel Sender (violin), David Sariti (violin), Ayn Balija (viola), Adam Carter (cello).
Eighth Blackbird’s mission is to move music forward through innovative performance, advocate for new music by living composers, and create a legacy of guiding an emerging generation of musicians. Eighth Blackbird, hailed as “one of the smartest, most dynamic contemporary classical ensembles on the planet” (Chicago Tribune), began in 1996 as a group of six entrepreneurial Oberlin Conservatory students and quickly became “a brand-name defined by adventure, vibrancy and quality” (Detroit Free Press). Over the course of more than two decades, Eighth Blackbird has continually pushed at the edges of what it means to be a contemporary chamber ensemble, presenting distinct programs in Chicago, nationally, and internationally, reaching audiences totaling tens of thousands.
The sextet has commissioned and premiered hundreds of works by composers both established and emerging, and have perpetuated the creation of music with profound impact, such as Steve Reich’s Double Sextet, which went on to win the 2009 Pulitzer Prize. The ensemble’s extensive recording history, primarily with Chicago’s Cedille Records, has produced more than a dozen acclaimed albums and four Grammy Awards for Best Small Ensemble/Chamber Music Performance, most recently in 2016 for Filament. Longstanding collaborative relationships have led to performances with some of the most well- regarded classical artists of today from heralded performers like Dawn Upshaw and Jeremy Denk, to seminal composers including Philip Glass and Nico Muhly. In recent projects, Eighth Blackbird has joined forces with genre-fluid composers and performers including The National’s Bryce Dessner, Arcade Fire’s Richard Reed Perry, Justin Vernon of Bon Iver, My Brightest Diamond frontwoman Shara Nova, Will Oldham aka Bonnie “Prince” Billy and Iarla Ó Lionáird of The Gloaming, among others. Eighth Blackbird’s most recent album, When We Are Inhuman, a collaboration with Oldham and Dessner, was released on August 30, 2019 on 37d03d/Secretly Canadian. Singing in the Dead of Night, written for the ensemble by Michael Gordon, David Lang and Julia Wolfe, will be released on Cedille Records in spring, 2020.
Eighth Blackbird first gained wide recognition in 1998 as winners of the Concert Artists Guild Competition. Since 2000, the ensemble has called Chicago home, and has been committed to serving as both importer and exporter of world class artistic experiences to and from Chicago. A year- long pioneering residency at the Museum of Contemporary Art-Chicago in 2016, during which the ensemble served as a living installation with open rehearsals, performances, guest artists, and public talks, exemplified their stature as community influencers. Receiving the prestigious MacArthur Award for Creative and Effective Institutions, Chamber Music America’s inaugural Visionary Award, and being named Musical America’s 2017 Ensemble of the Year have supported Eighth Blackbird’s position as a catalyst for innovation in the new music ecosystem of Chicago and beyond.
Eighth Blackbird’s impact extends beyond recording and touring to curation and education. The ensemble served as Music Director of the 2009 Ojai Music Festival, has held residencies at the Curtis Institute of Music and at the University of Chicago, and holds an ongoing Ensemble-in-Residence position at the University of Richmond. In 2017, Eighth Blackbird launched its boldest initiative yet with the creation of Blackbird Creative Laboratory, an inclusive, two-week summer workshop and performance festival for performers and composers in Ojai, CA.
The name Eighth Blackbird derives from the eighth stanza of Wallace Stevens’s evocative, imagistic poem, Thirteen Ways of Looking at a Blackbird: “I know noble accents / And lucid, inescapable rhythms; / But I know, too, / That the blackbird is involved / In what I know.”
Nathalie Joachim is a Burkart Flutes & Piccolos artist. Matthew Duvall proudly endorses Pearl Drums and Adams Musical Instruments, Vic Firth Sticks and Mallets, Zildjian Cymbals, and Black Swamp Percussion Accessories. Lisa Kaplan is a Steinway Artist.
Eighth Blackbird is managed by David Lieberman Artists’ Representatives.
AUTODIVA’S ROOM - Susan Grochmal
Vestigial Wings - Eli Stine
The Gate is Open - Aiman Khan
Integration - Daniel Arvelo-Perez
Rain Shadow No. 2 - Ben Luca Robertson
Quotation d0419: “Franco, Christian. “Victor Huerta”, Mexico 2009” - Omar Fraire
Complicated - Kaiming Cheng
Icarus - Ryan Kann
godtrash - Becky Brown
Squash - 3 LB
Program Notes
AUTODIVA’S ROOM
Hey what’s up welcome to my room have a good time —Susan Grochmal
AUTODIVA is currently working on her second album, DIVA PARTY, scheduled for release this summer, a followup to her first album DUAL- ITY. She explores important topics such as the Internet and Computers and are we Real.
Vestigial Wings
“At the boundary of the desert
Beneath the telescopic sky
I stopped to take the world in
As it went on rushing by
I thought ten hundred futures
Of what could and would become
As the dark of night got closer
Slipping disk of orange sun
I thought of all I’d loved and lost:
Of dropped, forgotten things
Of books with unread pages
Broken roots, vestigial wings
I thought of names gone unremembered,
And of places never seen,
Of the last of every species,
Silent forests, noiseless seas
And as dusk made way to nightfall
Black sky pricked with yellow light
I had not moved a single muscle
And so doing lost my life
Because in thinking and not doing
All I did was just compare
What could and would become of
Rather than what was really there”
—Eli Stine
Eli Stine is a composer, programmer, and educator. Stine is currently finishing a Ph.D. in Composition and Computer Technologies as a Jefferson Fellow at the University of Virginia, and is a graduate of Oberlin College and Conservatory with degrees in Technology In Music And Related Arts and Computer Science.
Stine’s work explores electroacoustic sound, multimedia technologies (often custom-built software, video projection, and multi-channel speaker systems), and collaboration between disciplines (artistic and otherwise). Festivals and conferences that have programmed Stine’s work include ICMC, SEAMUS, NIME, CMMR, NYCEMF, the Third Practice Festival, CubeFest, the Muestra Internacional de Música Electroacústica, the International Sound Art Festival Berlin, the Workshop on Intelligent Music Interfaces for Listening and Creation, and the International Conference on Computational Intelligence in Music, Sound, Art and De- sign. Currently, his sound design for the virtual reality installation MetamorphosisVR, a virtual reality adaptation of Franz Kafka’s Metamorphosis, is touring around the world, with installation locations including Prague, Berlin, Madrid, Cairo, Oslo, Seoul, Tokyo, and Hong Kong.
The Gate Is Open
With the guidance of Professor Leah Reid, I wrote this piece this semester. It reflects my recent experience of finding unprecedented happiness and depth in my life and learning to become familiar with joy without worrying about the future. I hadn’t previously composed music with a specific personal event or feeling in mind, so this has been a fun change. The piece begins with just horn alone, and several layers of sound periodically enter and leave throughout, interacting both with each other and with the solo horn.
—Aiman Khan
Aiman Khan is in her fourth year at the University of Virginia, studying Music and Economics. She is in the Performance Concentration within
the Music Department, and she is a member of the horn section of the Charlottesville Symphony. In the summer of 2018, she spent five weeks in Greensboro, NC at the Eastern Music Festival, and this coming sum- mer she will participate the in National Music Festival in Maryland.
Aiman is also a composer, primarily of electro-acoustic music. In November 2018, her piece Fluid Awareness was performed at the UVA Fall Dance Concert, and she performed her piece Ragged Call at the 2019 National Student Electronic Music Event (NSEME) in February.
Integration
Integration is a piece that brings together and takes apart harmony, form, and texture of acoustic and electronic sound. Its inspiration has come from UVA faculty guidance and “integration” of self-inspired ideas and synthesis. Rojo also wants to thank Kevin Davis, Heather Mease, Akin Odeleye, Robert Kaufman, Karidan Mavericks, and Leah Reid for their time and patience in the completion of Integration.
—Daniel Arvelo-Perez
Daniel “Rojo” Arvelo-Perez is a non-traditional 2nd year who was accepted into the music department last semester. He has been working with DAWS for over the past ten years and has a deep appreciation for the opportunities UVA has brought to him this current semester. His hobbies outside the music department include juggling, martial arts, and blacksmithing.
Rain Shadow No. 2
Rain Shadow No. 2 is part of a continued exploration of textural and spectral topologies. This iteration focuses on tonal flux as a property of intersecting overtone (“Otonal”) and undertone (“Utonal”) structures afforded by 7-limit just intonation. Using a pair of hand-held transduc- ers and amplified strings, the performer probes different surfaces to capture minute impulse signals. These impulses are transformed using a variation of Karplus-Strong synthesis, with all synthesis parameters controlled via a secondary tactile interface. The resultant sonorities retain the textural quality of each surface encountered, while imbuing a microtonal ‘haze’ across the spectrum.
-Ben Luca Robertson
Ben Luca Robertson is a composer, experimental luthier, and co-found- er of Aphonia Recordings. His work addresses an interest in autonomous processes, landscape, and biological systems—often supplant- ing narrative structure with an emphasis on the physicality of sound, spectral tuning systems, and microtonality. Growing up in the inland Pacific Northwest, impressions of Ponderosa pine trees, channel scab- lands, basalt outcroppings, and relics of boomtown decay haunt his work.
Ben holds an M.A. in Music Composition from Eastern Washington University, a B.A. from the Evergreen State College, and is currently pursuing a Ph.D. in Composition and Computer Technologies at the University of Virginia. In the Summer of 2015, he was appointed to a guest research position at the Tampere Unit for Computer-Human Interactions (TAUCHI) in Finland and recently collaborated with biologists from the University of Idaho to sonify migratory patterns of Chinook Salmon in the Snake River watershed.
Quotation d0419: “Franco, Christian. “Víctor Huerta”, México 2009”
-No, we are against any kind of pedagogic device, we have no message to convey, we are artist, we make artwork, not propaganda. On our use of quotes we expect to be close what _ _ _ _ _ _ _ _ wrote: “A quote must be like a bandit who assaults passersby.”
—FdC
Omar Fraire
Human as an artist, inventor, magician, curator, teacher - Fraire’s work is inserted into reality by transducing it, and functions as an act of resistance. Fraire enjoys collaborative work, and his energies oscillate across disciplines. After having deserted from two universities in México, Fraire has gone on to specialize in Sonology (Koninklijk Conservatorium - Holland) and holds a Master’s degree in Contemporary Art as auditor (Aguascalientes). He is the creator of Punto Ciego Festival, and artist of the Guggenheim Aguascalientes. Fraire is mostly self-taught, though he holds an M.A. from Wesleyan, having studied under R. Kuivila, and is currently a Ph.D. candidate at UVA.
Complicated
Complicated is a future bass electronic music piece written for MelodyPainter, a virtual reality-based composition software that transforms the user’s motion into corresponded MIDI notes. Future Bass is a genre that heavily applies modulated synthesized sounds in its composition. With MelodyPainter, one can fully utilize the capacity of different synthesizers.
Complicated has a strong rhymic feeling accompanied by beautiful vo- cal lines. In this piece, I hope to explore the potential of blending MelodyPainter into somewhat mainstream music and see how it goes.
-Kaiming Cheng
Kaiming Cheng is a musician, programmer, and instrument designer. Cheng is currently a fourth year student pursuing a B.A. in Music and Computer Science as a J.Sanford Miller Arts Scholar at the University of Virginia. At a very young age, Cheng began to play drum and was actively involved in different music groups and bands in both China and America. After also developing a keen interest in technology, he tried to combine his two best interests - music and computer science together.
Icarus
“This is my final project for MUSI 4547 - Composing with Electronics. The goal was to make something Lofi-inspired. Although that’s how it started, it branched off into something much more dynamic.”
-Ryan Kann
Ryan Kann
“I have been composing primarily orchestral and piano music as a hob- by for a few years; however, MUSI 4547 was my first formal composition course. I am really excited to show off everything that I’ve learned, and I feel I have expanded a lot as a musician over the course of this past semester.”
godtrash
You really screwed up this time, huh?
Becky Brown is a composer, harpist, artist, and web designer, interested in producing intensely personal works. She focuses on narrative, emotional exposure, and catharsis, with a vested interest in using technology and the voice to deeply connect with an audience, wherever they are. Depending on who you talk to, her music is “honest, direct and communicative,” “personal and raw,” or “took me to a place I didn’t want to go.” She is a 2nd year graduate student in composition at UVA.
Squash
Squash is an exercise in exercising (exorcising?) for the sake of body, mind, spirit, and art. Object impact reveals the (un)evenness of space
as compositional process questions our (im)perception of time.
-3LB
3LB was formed in Charlottesville, VA on April 1st, 2019 at 2:11 PM.
Karen Holt, director of the Equal Opportunity Office at the University of Virginia, discusses the new Diversity Initiative and how the hopes to bring change to admissions and hiring practices at the University.
Lisa Eorio, research scientist at the University of Virginia, discusses her experience as a person living with MS and the new grant that hopes to slow down the effects of MS in women through water aerobics fitness.
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."
Johanna Drucker, the first Robertson Professor of the Media Studies Program at the University of Virginia, discusses how the new program will focus on history, criticisms and the deconstruction of media.
Derek Nystrom discusses his dissertation for the English department at the University of Virginia on men's involvement in feminism and class identity in American film in the 1970s.
Kim Roberts, founder of Young Women Leaders Program, discusses the purpose and logistics of the program and how it is being received by both the Charlottesville community as well as the students at the University who are involved.
Ellen Fuller discusses her doctoral research focusing on women working in an American corporation in Japan and how they are adapting to cultural changes as well as the different choices that are a result of this new hybrid of American and Japanese culture in the workplace.
Ingrid Sandole-Staroste, professor of Sociology at George Mason University, discusses her research of women in East Germany and how the unification affected their daily lives.
Recent University of Virginia graduates, Jessie Blundell and Sarah Curtis-Fawley, discuss their long-term project regarding the widespread problem of sexual assault at the University of Virginia and myths surrounding sexual assault.
Elisabeth Ladenson, professor of French and comparative literature at Columbia University, discusses her book Proust's Lesbianism that focuses on the metaphors and symbols in Marcel Proust's novels.
Farzaneh Milani, professor of Middle Eastern & South Asian Languages & Cultures at the University of Virginia, discusses her latest op-ed piece for The New York Times and the experience of women in a Islamic conservative Iran.
Student leaders discuss the history of Take Back the Night beginning in the 1970s, and the importance of protesting against general violence and reclaiming safe spaces.
Special Agent Candice DeLong, profiling coordinator at the San Francisco division of the FBI, discusses criminal profiling for investigations of violent and sex crimes.
Gertrude Fraser author of African American Midwifery in the South: Dialogue of Birth, Race, and Memory discusses her ethnographical study on how older African-American women narrate their life course. She underscores the intergenerational relations of the experiences of these women, and their experiences as adolescents in retrospect.
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.
Karen Holt, director of the Equal Opportunity Office at the University of Virginia, discusses Affirmative Action and the consideration of race in admission decisions.
Karen Holt, director of the Equal Opportunity Office at the University of Virginia, discusses Davis v. Monroe County Board of Education focusing on peer-to-peer sexual harassment.
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.
Doctor Eugene A. Foster discusses his role as the organizer of the chromosomal research on Thomas Jefferson and Sally Hemmings to determine the paternity of her children.
Gweneth West, associate professor in the drama department at the University of Virginia, discusses the practice of Costume Design and its connection to historical and cultural contexts.
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.
Kate Doyle, member of the National Security Archives, discusses the series, Human Rights Guatemala: A Nation Toward Peace, that focused on human right violations from 1960-1996.
Ellen Phipps is a Certified Therapeutic Recreation Specialist and the Director of the Adult Day Care at Jefferson Area Board for Aging (JABA) in Charlottesville discusses how caring for an elderly adult is a women's issue in regards to assistance as well as care giving.
Lisa Eorio, research scientist at the University of Virginia, discusses the gender wage gaps and her dissertation focused on theory of Human Capital. Her research finds that women were obtaining less wage compensation, and concentrated in lower paying industries.
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.
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.
Franny Nudelman, professor at the department of English at the University of Virginia, discusses her book John Brown's Body focusing on masculinity and the representation of martyrdom during the Civil War.
John Generri, research fellow at the Carter G. Woodson Institute at the University of Virginia, discusses the history of intellectual debates and cultural politics of Jazz from the early 1950s to mid 1960s.
Karen Holt, director of the Equal Opportunity Office at the University of Virginia, discusses the program's goals and sexual harassment in the White House.
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.
Lisa Lindquist Dorr, fellow at the Carter Woodson Institute at the University of Virginia, discusses her project concerning black on white rape in Virginia from 1900 to 1960s.
Virginia Himes, professor of Anthropology at the University of Virginia, discusses her course on Native American women using their published life histories.
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.
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.
Grace Hale, assistant professor of history at the University of Virginia, discusses her book Making Whiteness: The Culture of Segregation in the South, 1890-1940 that focuses on white racial identity and its meaning.
Bella DePaulo, professor of social psychology, has focused on the field of study of day to day lies. In this episode she discusses Bill Clinton scandal and lying.
Jenny Ganell, discusses her role in the Hetrick-Martin Institute in New York City, which hopes to create a safe space for gay, lesbian, and transgender students in their high school years.
Michelle Kisliuk, professor of Music at the University of Virginia, discusses the transgeneric culture process through music focusing on socio-aesthetic.
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.
Doctor Bernice Sandler, whose focus has been on the "chilly climate" of women in society discusses the gendered interactions in every day lives that lead to domestic violence.
Katherine Thorton, recruited by NASA, discusses her experiences as a woman astronaut. She was part of four different space missions, and obtained a PhD in physics from the University of Virginia.
Ellen Contina Morava, program chair of Linguistics at the University of Virginia, discusses the origin, stigmas, and the importance of considering Ebonics as a valid form of communication.
Dr. Margaret Mohrman, discusses the difference between herself and the male doctors in the ICU, and the importance of ethics in medicine in order to better serve the patients.
Chinta Gaston, graduate of Virginia Law is discusses her role in the United States Attorney's Office, and her role in Kroll Law Firm with bringing justice in the lawsuits dealing with sex discrimination.
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.
Doctor Bernice Sandler discusses her the issues underscored in her literature: The Chilly Classroom Climate: A Guide to Improve the Education of Women, with others and Sexual Harassment on Campus: A Guide for Administrators, Faculty, and Students. She focuses on the improvements made on overt practices of sex discrimination on campuses, and the subtle behaviors of the treatment of students.
Shu Jinghuan, professor of Education in Beijing currently in a Fulbright research fellowship at the University of Maryland, discusses the cultural revolution's effects on gender issues, women and education in China.
Kyra Gaunt, doctorate from the University of Michigan, discusses her dissertation "The Games Black Girls Play" that focuses on how young black girls in urban settings learned social identities through music and play.
Central Spokesperson for Palestinian people and author of This Side of Peace discusses the moral imperative for obtaining a central and recognized place for Palestinians. She focuses on her commitment to social justice and diplomacy in her home country.
Anne Firor Scott, Professor at Duke University, writer, activist and pioneer in the history of women, discusses her work and the importance of the African-American women activists and their part in the expansion of the "Black Middle Class."
Ellen Contini Morava, program chair of linguistics and professor of anthropology at the University of Virginia, discusses the different feminist moral stands on the Clinton White House's controversy.
Erin Davis discusses her dissertation focusing on the lives of people living in a different a gender from the one assigned to them at birth, and further explains the newer term of transsexuality.
Gene Brosok, music critic and program host of Listening of Women and Men for WOMR, discusses the exclusionary practices in the hiring of women and racial minorities in the Vienna Philharmonic Orchestra.
Gertrude Fraser, professor of Anthropology at the University of Virginia, discusses the Holsinger Studio Collection - a collection of local Charlottesville studio portraits, including a significant collection of portraits of African-Americans - on exhibit at the Carter Woodson Institute.
Gertrude Fraser professor of Anthropology at the University of Virginia discusses her focus on medicine as a cultural system. She shares her life course as being a compilation of migratory movements starting from Jamaica to New York City.
Helena Lewis is a cultural historian of 20th Century France discusses the life of Jewish Russo-French "committed" writer Elsa Triolet. Her focus has been on surrealism and intellectuals from World War II.
Janet Beizer, associate professor of French at the University of Virginia, discusses her book Ventriloquized Bodies: Narratives of Hysteria in 19th Century France and her research on cultural conceptions of gender in Paris.
Karen Holt, director of the Equal Opportunity Office at the University of Virginia, discusses sexual harassment and the recent Supreme Court decisions.
Kathy Peiss, professor of history at the University of Massachusetts-Amherst, discusses her latest book "Hope in a Jar: The Making of American Beauty Culture" that focuses on the historical context of the modern beauty industry.
Kyra Gaunt discusses the McIntire Arts Board sponsorship of the University of Virginia's Jazz Fest and the upcoming concerts where women are being represented.
Leslie Nuchow, New York singer songwriter, discusses her offer from the label Phillip Morris: Women Thing Music and what led to her to anti tobacco industry activism.
Author Luise White, discusses her book that focuses on the rumors of vampirism in Central Africa as well as the general phenomenon of rumors in our culture.
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.
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.
Professor of criminal Law at Vanderbilt University discusses the significance of the verdict of OJ Simpson Trial; the larger cultural context of racial politics in the L.A. police department; and the lack of focus on domestic violence.