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Toccata by Joo Won Park is a solo live electroacoustic piece for
found objects and the SuperCollider program. Joo Won performs
this piece by scratching, rubbing, tapping, and pushing the objects
in different ways on a board with a contact microphone. What you
hear is the sound of those objects being digitally processed. Every
time you see him clicking on a laptop, you hear different effect
combinations. In the pre-performance ritual, he mentally prepares
himself to create a wide range of sounds in a nervous and hectic
mood. The performance guide and the SuperCollider patch for
Toccata can be found at www.joowonpark.net/Toccata.pdf
smooth is piece written for the KYMA signal processing system and Wacom Tablet interface.
Limited Aggregation, by Max Tfirn and Seung-Hye Kim, is a collaborative piece for percussion and computer that explores sounds that are found by hitting different percussion instruments and modified by live processing. Each composer in the collaboration composes new material and edits each other’s material on the fly. This blends the composers’ compositional styles. Each sound from the percussion and computer interacts with every other, creating larger sounds and richer textures. There are also moments where the component sounds are zoomed in on that creates a contest between the larger built sounds and the microscopic natural sounds. These microscopic zoomed sounds are products of analyzing the spectrum and taking certain characteristics of the sound and filtering out others. The changing length of the processed sounds also reinforces the small/microscopic and zoomed aspects.
Within a Sand Dune, by Erik Deluca, scored for amplified percussion quartet with one player, involved a compositional system inspired by time listening to the breath of the Great Sand Dunes in Colorado. The percussion quartet transduces the sounds of the dunes, and the composer’s experience listening to them.
37720, by Rachel Trapp, is a construction of found sound shaped through a process of unfolding telematic communication. Acoustic and inductive recordings of the composers’ simultaneous transit rituals are transformed and positioned in the performance space according to the composers’ shared sensibilities, creating an audible landscape of movement across time, space, and subjectivity.
Look the Other Way, by Kristina Warren: “I explore what I call “found text.” First I compiled texts from several sources, including novels, poems, and newsreels. Then I digitally recorded myself singing- speaking them, and next used various means to obscure the words (e.g., recording to and from tape, intensive layering, etc). This serves to emphasize the sonic and de-emphasize the semantic qualities of the source texts. In performance, I modulate the resulting texture by way of live, semi-semantic vocal input. All this aims to re-consider both signification and authorship.”
Touching, by Eli Stine, is an exploration of surface: surface sounds of different objects and the surface layer of musical structure. Sonic materials come exclusively from recordings of touching, leading to friction, leading to striking of surfaces and objects and their resultant resonances. The sounds of these objects meet and interact, but no interaction is more than skin deep.
Hyperions, by Paul Turowski, is software that presents an interactive context for musical improvisation. While the performer is free to make specific choices about pitch, timing and activity level, their choices are recognized by the computer via microphone input and significantly affect the dynamic physics-based system. Chance- based factors, including the gradual advance of destructive agents, make the piece akin to a tower defense game and allow unique visual and sonic textures to emerge with each performance.
Trans, by Ryan Maguire, is a real-time sonification of a computer transcription of a transalpine scene. The original auditory moment, amidst a herd of cows along a Swiss mountain pass awaiting an approaching thunderstorm, is transformed via machine/human listening and digital transmission. Through repeated transmutation the transience of this particular “found sound” is transpired. In general, all signals are transmodified, and transparency is only relative. The transitory can never be truly transfixed because, first, we have only its trace and, second, communication necessitates transduction wherein its substance is transmuted. Nevertheless, might transpersonal knowledge of such ephemerality facilitate transcendent experience and/or esthesic trance?
Concert I
Friday, February 21, 2020 at 8:00 pm The Bridge PAI
featuring Ryoko Akama
David Tudor’s Rainforest IV Sound Art Students
Violinguistics Three Blind MICE
Dark Parts Becky Brown
Remembering with Objects Heather Frasch & Ted Coffey
Deep Map #1 Michele Zaccagnini
Interruptions in an Endless Expanse Max Tfirn
(shimatsu) Ryoko Akama
Rainforest IV — Sound Art Students
Installation by David Tudor 1973
Realized by students of Sound Art in Practice
Rainforest IV by David Tudor runs found sounds through found objects. By sending sounds through materials, the resonant nodes of the materials are released, creating a new kind of sound that blends the sounds and objects together. According to Tudor, the concept for the piece grew out of a “dream-vision of an orchestra of loudspeakers, each speaker being as unique as any musical instrument.” The students designed or chose their own objects, decided on which sounds and came to a consensus about placement.
Participants are encourage to move around the installation and explore the sounds close up. They can carefully touch the objects to feel the vibrations as well as listen more closely.
Violinguistics — Three Blind Mice
Violinguistics: Electro-acoustic phonetic reduplication through violin
morphologies of formant-shifting nonconcatenative morphemes
Dark Parts — Becky Brown
A liminal space is a liminal space is a lmnial spa ce i paace A limin s pa li mna space is space is space is a liimin lnaa spi liminal liminal spsp ANimal speci le scepim nillima ellaminis cesna alimin aces laces animal special alleminiam asp case is a kn i. A kn i. A kn i. A liminal spa is ce f. A kni. f. F. F>
Remembering with Objects — Ted Coffey & Heather Frasch
Duo Coffey and Frasch will realize this text score by Frasch which maps personal connections among memory, places, and self — and the objects that remind us of those things.
Deep Map #1 — Michele Zaccagnini
The piece is a recent development of a practice I am developing that I named “deep mapping”: deep mapping is an approach that allows the composer to store and render musical data into visuals by “catching” the data at its source, at a compositional stage. The advantages of this approach are: accuracy and discreteness in the representation of musical features; computational efficiency; and, more abstractly, the stimulation of a practice of audiovisual composition that encourages composers to envision their multimedia output from the early stages of their work. In particular, this piece explores ways of rendering synchronicity between same or similar patterns so that when synchronization actually happens, one can experience it not only aurally but visually.
Interruptions in an Endless Expanse — Max Tfirn
Interruptions in an Endless Expanse is a composition for interactive electronics, including various drone synths, guitar pedals, sequencers, and live coding. The composition takes shape through a series of long, drone sounds that slowly morph into one another. As the piece progresses, new sounds are introduced that break away from what was previously heard culminating in sonic disorder. Interruptions in an Endless Expanse takes its name from the idea of a made-up scenery being endless to the eye. Looking in any direction gives the viewer the same sight. While the environment changes, the endless expanse seems to go unchanged. It is only when the observer takes a deeper look around that the details start to change and the surroundings take a helter-skelter, eldritch turn.
(shimatsu) — Ryoko Akama
i.e. beginning + ending management
dealing
settlement
cleaning up
getting rid of
(usually bad) end result
This is the fifth of her solo performance series, shimatsu, with contraptions made out of found objects and simple electronic devices, creating a subtle, sometimes violently silent, listening situation.
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.
Acclaimed physician-writer Christine Montross (Body of work, 2007; and Falling into the fire, 2013) discusses how diving deeply into her most challenging patient encounters has led her to the ancient concept of "abiding" as a lost tenet of patient care. A psychiatrist and medical educator, Dr. Montross speaks in defense of repugnance, and encourages physicians and doctors-in-training to acknowlege, rather than suppress the discomforts which naturally arise in the practice of medicine.
A John F. Anderson Memorial Lecture
The Affordable Care Act (ACA) has brought transformational changes to the healthcare system, including, in some ACA programs, movement away from a pay-for-volume system to pay-for-performance or outcome. Three programs exemplify this approach: readmission penalties, no payment for selected hospital-acquired conditions (HACs), and value-based purchasing. To date, the HAC nonpayment program has targeted prevention of central-line-associated bloodstream infections, catheter-associated urinary tract infections, selected surgical site infections, and methicillin-resistant Staphylococcus aureus (MRSA) or Clostridium difficile infections. With better understanding, improved procedural practices, and closer monitoring, more of these infections are proving preventable; infection rates, including for MRSA, have dramatically decreased. In this Medical Center Hour, distinguished medical epidemiologist Dr. William Jarvis discusses these successes, including their financial implications, and how further collaboration between clinicians and infection control programs can prevent even more hospital-acquired conditions.
The Hayden-Farr Lecture in Epidemiology and Virology/Medical Grand Rounds
Co-presented with the Department of Medicine, UVA
Over the past decade, several leading U.S. medical schools have developed courses combining art appreciation and clinical observation skills. Medical students venture from the clinical setting to the art gallery, where they are challenged by gallery educators and medical professors to observe and to articulate what they see in the art before them. Such courses aim to cultivate and deepen students' visual literacy, verbal facility, and tolerance for ambiguity with the expectation that more finely tuned visual observation and communication skills will help them to be better doctors.
Working with a task force in the UVA School of Medicine, Fralin Museum of Art academic curator Jordan Love has created and piloted The Clinician's Eye, an interactive workshop that aims to refine apprentice clinicians' skills through training in visual analysis. This Medical Center Hour invites audience members to participate—hands-on—in a version of this workshop.
A John F. Anderson Memorial Lecture
The history of eugenics is often characterized as a cautionary tale of life in the bad old days, when pseudoscientific assumptions about genetic determinism provided a respectable veneer that enabled barely submerged racism, xenophobia, and blatant discrimination against persons with disabilities to take root in American law. Some argue that, today, our science is sound, our attitudes enlightened; we need not be hobbled by fear of long-expired bad eugenic habits.
In this Medical Center Hour, Paul Lombardo, who has written extensively on eugenics and the law in America, challenges such assumptions, asserting that the same tendencies that led to a century of eugenic law and policy continue to inform our public debate over democratic values and the proper role of science as a tool for solving social problems.
The Joan Echtenkamp Klein Memorial Lecture in the History of the Health Sciences
Co-presented with the History of the Health Sciences Lecture Series, Historical Collections, Claude Moore Health Sciences Library
We hear much these days about the widening gap in America between the rich and the poor, the haves and the have-nots. Inequality is all around us, and it exacts a serious toll on health. The poor die sooner. Blacks die sooner. And poor urban blacks die sooner than almost all other Americans. Indeed, there is a 35-year difference in life expectancy between America's wealthiest (and healthiest) and poorest (and sickest) neighborhoods.
Internist David Ansell MD has worked for four decades in hospitals serving Chicago's poorest communities. While he's witnessed first-hand the structural violence—racism, economic exploitation, and discrimination—responsible for the "death gap," he argues that geography need not be destiny. In this Medical Center Hour, Dr. Ansell outlines how we can address this national health crisis and act to remedy the circumstances that rob many Americans of their dignity and their lives.
Co-presented with Alpha Omega Alpha National Medical Honor Society, UVA chapter
Nimura, Janice P., University of Virginia. School of Medicine
Summary:
The world recoiled at the idea of a woman doctor, yet Elizabeth Blackwell persisted, and in 1849 became the first woman in the U.S. to receive an MD. Her achievement made her an icon. Her younger sister Emily followed her, eternally eclipsed despite being the more brilliant physician of the pair. Together, they founded the first hospital staffed entirely by women, in New York City. While the Doctors Blackwell were visionary and tenacious—they prevailed against a resistant male medical establishment—they weren't always aligned with women's movements, or even with each other. In this Medical Center Hour, biographer Janice Nimura celebrates the Blackwells as pioneers, change agents, and, for women in medicine today, compelling yet somewhat equivocal role models.
Co-presented with Historical Collections, Claude Moore Health Sciences Library
A documentary film series and website about Virginia's history since the Civil War.
Episode 1– New Deal Virginia explores two significant changes in Virginia history: the creation of Shenandoah National Park and the electrification of rural Virginia. Both stories trace the effects of the federal government on the lives of everyday rural Virginians in the 1930s. Letters, maps, newspaper stories and teaching resources accompany this exploration and film (30 minutes).
Episode 3 – Massive Resistance became Virginia's policy to prevent school desegregation in the wake of the Brown v. Board of Education Supreme Court decision in 1954. Many of Virginia's white leaders resisted integration with all of their considerable political and legal means. The story of massive resistance and of black Virginians' protests against segregation began in the early 1950s and continues today. This two-part film (one hour) traces the history of massive resistance in Virginia and considers some of its legacies. "Massive Resistance" was an Emmy Nominee in 2000 of the Washington, D.C. Chapter of the National Academy of Television Arts and Sciences and will be shown nationally on PBS in February 2002 for Black History Month.
Episode 4 – Virginia Fights World War II explores the transformative changes that Virginia experienced in World War II. Virginia mobilized hundreds of thousands of citizens during World War II and became the home base for a host of navy, army munitions, and defense industries. Virginia's soldiers fought in the Pacific and landed at Omaha Beach on D-Day. This two-part film (one hour) follows the stories of everyday Virginians, those who fought at D-Day and those who patrolled Virginia beaches, worked in the munition plants, flew missions in Europe, and fell in love during the war. This site contains the image archive for the film--over 1,600 images of Virginia or Virginians in World War II.
As our companion animals grow old and infirm, veterinarians and human caregivers alike face a complex and confusing array of choices and decisions. This Medical Center Hour explores some of the central moral challenges in end-of-life care for animals, from pain management and quality-of-life assessments to palliative treatment, hospice care, and making that final decision to hasten an animal's death. Considering this "last walk" with our pets, bioethicist Jessica Pierce and compassionate care advocate Susan Bauer-Wu borrow some ethical guideposts from the field of human bioethics (and offer a few in return).
A John F. Anderson Memorial Lecture
Co-presented with the Institute for Practical Ethics and Public Life, UVA
With malaria a real threat to American troops' fighting fitness, the U.S. government during World War II mounted an all-out hunt for a malaria cure. Tropical-disease researchers with the Rockefeller Foundation took the lead on a secret project that adopted German research models and methods, including use of institutionalized Americans—inmates in six mental hospitals and several large prisons—both for culturing the parasites that cause malaria (there was no animal model) and for testing experimental drugs against the disease. After thousands of failed starts (and much human harm), the researchers had their "magic bullet": a German antimalarial compound captured in battle. This drug, reformulated in the U.S., is chloroquine, one of the most important pharmaceuticals ever made to fight malaria.
In this Medical Center Hour, public health journalist Karen Masterson and infectious diseases specialist Dr. Richard Pearson delve into this tale of secret science in the service of war efforts and into research that was conducted before promulgation of federal rules and regulations governing human participation in biomedical research.
Co-presented with the History of the Health Sciences Lecture Series of Historical Collections, Claude Moore Health Sciences Library
In its emphasis on instrumentality, on the patient as something to be acted upon, and on the doctor as an abstracted agent of diagnosis and treatment, medicine often neglects the practitioner's involvement in the clinical scene. Recent attempts to direct attention to this aspect of practice have been stymied by medicine's nearly exclusive reliance on a quantitative, positivist disposition, with which humanist scholarship has had difficulty gaining traction. The narrative medicine movement, as articulated by Dr. Rita Charon of Columbia University College of Physicians and Surgeons, has gained widespread attention within the medical academy. But physician and literature scholar Dr. Terrence Holt argues that, for all its positive features (and despite Dr. Charon's efforts to define it otherwise), narrative medicine as applied remains committed to an interventional model that is at odds with the strengths of the humanities. Drawing on readings of texts such as Shakespeare's King Lear, Coleridge's Rime of the Ancient Mariner, Shelley's Frankenstein, and the poetry of John Keats, Dr. Holt contends that the value of the humanities in medical education and practice is not as an intervention but as a diagnostic modality—and that the proper first object of diagnosis may not be the patient, but the physician.
The Ellis Moore Lecture of the School of Medicine
