61. Oral History Interview with Edward T. Wood (34:31)

Date:
2021-09-23
Main contributors:
Wood, Edward T.
Summary:
An oral history interview with Dr. Edward T. Wood, conducted by Dr. David S. Wilkes via Zoom on September 23, 2021. This interview is part of the Medical Alumni Stories Oral History Project, a joint effort of the Claude Moore Health Sciences Library and the UVA Medical Alumni Association and Medical School Foundation. Edward Thomas Wood was born in Lexington, VA, in 1932. He attended Armstrong High School in Richmond, VA, and was a pre-medical student at Dartmouth University, where he earned an A.B. in 1953. Wood and his classmate Edward Bertram Nash became the first two Black students to attend and graduate from the University of Virginia School of Medicine. Matriculating in 1953, they graduated in the Class of 1957. After medical school, Wood completed several internships and residencies in New York. After choosing ophthalmology as a specialty, he opened his own practice in New York and spent the remainder of his career there. Wood had a long and productive career, working for 60 years until the age of 85, and then residing in Florida up until his death. He passed away on April 17, 2024. David S. Wilkes graduated from Villanova University (B.S.) and earned an M.D. from Temple University. He served as Dean of the UVA School of Medicine from 2015-2021. Dr. Wilkes remains a member of the research faculty at the UVA School of Medicine.

62. John Hessler : Video Ergo Scio - Computational Reconstruction of Ancient Ceramics and Inscriptions (1:11:58)

Date:
2021-04-08
Main contributors:
Will Rourk
Summary:
Invited speaker, John Hessler of the Library of Congress, discusses the use of artificial intelligence for the reconstruction of ceramics and inscriptions in archaeology for the Scholars' Lab speaker series, University of Virginia, Spring 2021. Recorded via Zoom web video communications interface in the presence of a live audience of 60+ attendees.

63. Oral History Interview with Anastasia Williams (1:16:00)

Date:
2021-04-08
Main contributors:
Williams, Anastasia
Summary:
An oral history interview with Dr. Anastasia Williams, conducted at the Claude Moore Health Sciences Library on April 8, 2022. This interview is part of the Medical Alumni Stories Oral History Project, a joint effort of the Claude Moore Health Sciences Library and the UVA Medical Alumni Association and Medical School Foundation. Anastasia Longchamps Bayardelle Williams was born in New York and attended Cornell University, graduating with an undergraduate degree in Chemistry in 1991. She moved to Charlottesville with her husband in 1993 so that they could attend medical and law school, respectively, at the University of Virginia. Dr. Williams graduated from the UVA School of Medicine in 1998. After medical school Dr. Williams completed an internship in pediatrics at the Medical College of Georgia (1998-1999) and a residency in pediatrics at Johns Hopkins Hospital in Baltimore, MD (1999-2001). She worked as a pediatrician in northern Virginia for 20 years, founding Olde Towne Pediatrics in Manassas and Gainesville, VA, and serving as the Medical Director of Pediatrics for Novant Health UVA Health System. Dr. Williams currently lives and practices in California. Dr. Williams has served on the UVA Medical Alumni Association Board of Directors and the UVA School of Medicine Board of Trustees, as well as on the UVA Parents Committee, which she co-chaired with her husband, Sanford Williams. The Williams have three children, who are all alumni of UVA.

64. (Un)masking identity: art as autoethnography (1:00:52)

Date:
2021-03-31
Main contributors:
University of Virginia. School of Medicine
Summary:
"Give a [wo]man a mask and [s]he will tell you the truth." –Oscar Wilde Since 2010, Walter Reed National Military Medical Center's therapeutic arts program has engaged brain-injured and traumatized military veterans in hands-on mask making. Even as they conceal the face, these soldiers' masks vividly reveal secret suffering, declare deeply felt identity and patriotism, signal spiritual wounds and moral strengths, externalize guilt or grief. Making a mask can help its creator to (re)claim identity, and to heal. In this AOA Lecture, physician-educator Mark Stephens and art therapist Melissa Walker discuss the construction of masks as an artful means of recognizing oneself and reflecting on identity, not just for wounded warriors but also for healthcare professionals. Co-presented with Alpha Omega Alpha national medical honor society, UVA Chapter

65. Building Barboursville : 3D Scanning and Modeling the Ruins (1:10:40)

Date:
2021-03-31
Main contributors:
Will Rourk, University of Virginia Library
Summary:
UVA Architectural History ARH 5600 - 3D Cultural Heritage Informatics (Spring 2021) invited class speakers, Bryan Clark Green and Patrick Thompson, discuss the process of using 3D laser scan data collected by ARH 5600 students in the Fall 2020 semester to create a historcically accurate 3D architectural model of the Barboursville Plantation House ca. 1820s in Barboursville, VA. Recorded via Zoom web video communications interface in the presence of a live audience of 60+ attendees.

67. Staying human in medicine: the danger of isolation and the power of good connection (1:01:32)

Date:
2021-03-24
Main contributors:
University of Virginia. School of Medicine
Summary:
Physician-writer Samuel Shem's iconic black humor-laced novel, The House of God (1978), written while he was a resident, was an exposé of medicine's often-heartless training culture at the time. The book became unofficial required reading for generations of persons going into medicine. His most recent novel, Man's 4th Best Hospital (2020), appeared when clinician morale was low, burnout rampant, and physician suicide on the rise; if anything, the COVID pandemic has exacerbated these conditions. In this Hook Lecture, Shem discusses how his books arose out of perceived injustice to take the measure of medicine's culture, and how he has used fiction both to resist injustice and to call upon doctors, nurses, and others to reclaim their once-humane calling. Edward W. Hook Memorial Lecture in Medicine and the Arts Medicine Grand Rounds Co-presented with the Department of Medicine and with generous support from the School of Medicine's Anderson Lectures

68. The topography of wellness: how health and disease have shaped the American landscape (1:03:52)

Date:
2021-03-17
Main contributors:
University of Virginia. School of Medicine
Summary:
When it comes to matters of health, environment, and urban history, lessons of the past are often forgotten by Americans. However, in many ways, fears from American epidemics in the last 150 years have all become acute again with the COVID-19 pandemic. Working at the intersection of public health and urban/environmental history, architect Sara Jensen Carr investigates how shifts in the American urban landscape were driven by health concerns, and how these have led to this inflection point between living in the pandemic and a post-pandemic future. She's joined by urban and environmental planner Tim Beatley in this Medical Center Hour that addresses the "topography of wellness" in our urban public spaces even as we anticipate COVID-driven design changes. History of the Health Sciences Lecture Co-presented with Historical Collections, Claude Moore Health Sciences Library; Center for Design + Health, School of Architecture; and University of Virginia Press

69. Anchored in nursing: a life in leadership (1:02:00)

Date:
2021-03-10
Main contributors:
University of Virginia. School of Medicine
Summary:
In this Bice Memorial Lecture, Rebecca Rimel looks back on a life in leadership—in her case, serving 26 years as president and CEO of The Pew Charitable Trusts, an innovative and influential public charity involved in health and human services, the arts, public opinion research, and environmental, public health, and national economic policy. Ms. Rimel's service at Pew was anchored in nursing, built upon an exemplary career in healthcare and on what she learned and practiced as a nurse at UVA—management under pressure, clear communication, purpose and motivation, empathy and caring. Zula Mae Baber Bice Memorial Lecture co-presented with the School of Nursing

70. Elderhood: redefining aging, transforming medicine, reimagining life (1:02:58)

Date:
2021-03-03
Main contributors:
University of Virginia. School of Medicine
Summary:
Among the COVID-19 pandemic's lessons is an increased awareness of the hazards of old age. But only a fraction of that risk is biological. At a moment in history when most of us will live into old age, we've created a world that's almost entirely focused on childhood and adulthood. It's time now to define, design, and empower this new, nearly universal elderhood. In this Medical Center Hour, geriatrician and writer Louise Aronson draws on her clinical experience and creative abilities to reimagine and advocate for old age not as a disease but as a vital phase of being human, with implications for social and community life, technology, geroscience, and healthcare. How shall we now approach elderhood? Koppaka Family Foundation Lecture in Health Humanities

71. Why doctors write: in their own words (1:01:20)

Date:
2021-02-24
Main contributors:
University of Virginia. School of Medicine
Summary:
Many doctors have also been celebrated writers, from Anton Chekhov, Arthur Conan Doyle, and William Carlos Williams to Perri Klass, Atul Gawande, and Maxim Osipov. The reading public (including other doctors) eagerly devours what doctors write, not least in hopes of glimpsing what makes physicians tick, as persons, as healers. But why do doctors write? In this Medical Center Hour, three of UVA's own accomplished physician writers respond, in their own inimitable words. An Ellis C. Moore Memorial Lecture

72. The Doctors Blackwell: how two pioneering sisters brought medicine to women and women to medicine (59:11)

Date:
2021-02-10
Main contributors:
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

73. Oral History Interview with Mary Jane McFadden (1:13:00)

Date:
2020-10-23
Main contributors:
McFadden, Mary Jane
Summary:
Oral history interview of Mary Jane McFadden, class of 1974, via Zoom, on October 23, 2020. McFadden discussed her undergraduate experience at Ohio State and how she chose UVA Law. Review of her role in establishing Virginia Law Women and early VLW recruitment efforts. Discussion of gender-based inequity of UVA Law admissions in the early ‘70s and VLW efforts to improve women admission rates. Reminisces of VLW activities and Frances Farmer of the Law Library.

74. Oral History Interview with Neil McBride (1:02:00)

Date:
2020-06-09
Main contributors:
McBride, Neil
Summary:
Oral history interview with Neil McBride, class of 1970, over Zoom in Charlottesville, VA, and Knoxville, TN. McBride discusses the UVA student strike in May 1970 over the Vietnam War, and his participation as a legal marshal.

75. Oral History Interview with Jim Carpenter (34:16)

Date:
2020-05-07
Main contributors:
Carpenter, Jim
Summary:
Oral history interview with Jim Carpenter, a photographer who worked for the newspaper The Daily Progress, in Charlottesville, VA, from 1968-1988. Carpenter discusses his experiences from May 4-11, 1970, photographing events surrounding the UVA student strike.

76. Oral History Interview with H. Lane Kneedler (59:28)

Date:
2020-03-20
Main contributors:
Kneedler, H. Lane
Summary:
Oral history interview with H. Lane Kneedler, class of 1969, lecturer, and former UVA Law assistant dean and professor. Kneedler discusses the events surrounding the UVA student strike in May 1970 against the Vietnam War, and his participation in events as a Law School administrator.

77. Oral History interview with Edwin Finch and Francis McDermott (1:04:00)

Date:
2020-03-19
Main contributors:
Finch, Edwin, McDermott, Francis
Summary:
Oral history interview with Edwin Finch, class of 1970, and Frank McDermott, class of 1970. Finch and McDermott discuss the events surrounding the UVA student strike in May 1970 against the Vietnam War and their participation in the events as legal marshals.

78. Oral History Interview with David Levy (49:39)

Date:
2020-03-04
Main contributors:
Levy, David
Summary:
Oral history interview with David Levy, class of 1970, in Fairfax, VA. Levy discusses his experiences in law school at UVA and his involvement as a legal marshal in the student strike in May 1970 against the Vietnam War.

79. Science Ficta: Works by UVa Graduate Composers - Old Cabell Hall (1:24:50)

Date:
2020-02-29
Summary:
The Ten of Swords Becky Brown the house of the mother of the Heather Mease Artemisia Ben Luca Robertson The Mirrors of Uqbar Juan Carlos Vasquez ~ Intermission ~ nothing but nothing Alex Christie A mexican intervention Ernesto Guzmán to be performed once and never more, on very traditional old european devices, at any usonian educational entity. I. La escritura|bordes|huellas de un cuerpo. II. Anthem/end of the line. III. (Go to I) Masking Songs Daniel Fishkin Science Ficta An ensemble of viola da gamba virtuosi (Doug Balliett, Kivie Cahn- Lipman, Loren Ludwig, and Zoe Weiss), Science Ficta tackles the thorniest polyphonic challenges, old and new. Longtime collaborators and friends, in 2016 the four were inspired to form an ensemble dedicated to music at least as difficult to play as it is to listen to (and hopefully more so!). Science Ficta's arcane but rewarding repertory is comprised both of new commissions and a wealth of little-known sixteenth century works that have been unjustly neglected by modern performers and listeners. Science Ficta's performances seek points of contact between contemporary music and the diverse experimental musical traditions of the late Renaissance pioneered by composers including Christopher Tye, Ferdinando de las Infantas, John Baldwin, and Johann Walter. Science Ficta has premiered new works by Molly Herron, Doug Balliett, and Cleek Schrey and members of the ensemble have performed and collaborated with composers including Donnacha Dennehy, Nico Mulhy, George Benjamin, Ted Coffey, and numerous others. Recent residencies at Avaloch Farm Music Institute and Cornell and Princeton Universities have allowed Science Ficta to work closely with student performers and composers. Program Notes & Biographies The Ten of Swords The Ten of Swords is a card in the Minor Tarot. It depicts a prone man, ten swords buried in his back, a swath of red draped over his lower body (which could be interpreted as a robe, or his blood, or both). He faces away from the viewer, looking out over a dark lake, towards a distant sunrise. Becky Brown is a composer, harpist, artist, and web designer, interested in producing intensely personal works across the multimedia spectrum. 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. the house of the mother of the The House of the Suicide and The House of the Mother of the Suicide are a pair of architectural structures by John Hejduk erected in tribute to the 1969 self-immolation of the Czech dissident Jan Palach whose death was in protest of the 1968 Soviet invasion. Heather Mease makes sound and video! Heather Mease is often both dry and greasy at the same time! What a nightmare!! Artemisia In Artemisia, the composer employs an extended system of 11-Limit just intonation to model the phenomenon of “stretched” octaves and other spectral non-linearities. Contrasting with the simple, harmonic proportions exhibited by most stringed instruments (including the Viol da Gamba), we generally associate such inharmonicity with bells, gongs, and various metallic percussion. However, through the inclusion of high-order just intervals, one may construct ‘hybrid’ sonorities which embody traits of both harmonic and inharmonic timbres. Here, stretched octaves exhibit intervallic displacement equivalent to at least three forms of just commas (81/80, 45/44, 33/32). The cumulative effect for this mode of inharmonic distortion suggests the perception of an altered or otherwise ambiguous fundamental frequency—thus eliciting a sense of movement analogous to ‘Tonal Flux.’ So as to afford the precise transformations in pitch and spectra necessary in generating these phenomena, performers use custom software to process the signals from two electric instruments within the consort. Commensurate to electronic processing, the ensemble also alters the positions of frets on their instruments to accommodate new tuning schemes. From these procedures emerge a continually evolving set of 28 distinct sonorities, which constitute the structure of the piece. Ben Luca Robertson is a composer, experimental luthier, and co- founder of the independent record label, Aphonia Recordings. His work addresses an interest in autonomous processes, landscape, and biological systems—often supplanting narrative structure with an emphasis on the physicality of sound, spectral tuning structures, and microtonality. Ben’s current research focuses upon the intersection between actuated string instrument design and just tuning practices. Growing up in the inland Pacific Northwest, impressions of Ponderosa pine trees, channel scablands, basalt outcroppings, and relics of boomtown decay continually 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. Ben’s work has been featured at New Interfaces for Musical Expression (NIME), Sound-Music Computing Conference (SMC), Northwest Public Broadcasting, MOXsonic, New York Re- embodied Sound Symposium, Third Practice, Magma-fest, and Olympia Experimental Music Festivals. The Mirrors of Uqbar The Mirrors of Uqbar is a piece based on the metaphor of mirrors found in the short story "Tlön, Uqbar, Orbis Tertius" by Jorge Luis Borges. In this story, Uqbar was a fictional society where mirrors were feared in an allegory to hyperrealism, aka a simulation that takes over reality. In the piece “The Mirrors of Uqbar”, the electronics reflect and modify the melodic acoustic materials, creating a progressively independent world. Juan Carlos Vasquez is an award-winning composer, sound artist, and researcher. His electroacoustic music works are performed constantly around the world and to date have premiered in 28 countries across the Americas, Europe, Asia, and Australia. Vasquez has received grants and commissions by numerous institutions, including the ZKM, the International Computer Music Association, the Nokia Research Center, the Ministry of Culture of Colombia, the Arts Promotion Centre in Finland, the Finnish National Gallery, and CW+ in partnership with the Royal College of Music in London, UK. As a researcher, Vasquez’s writings can be found in the Computer Music Journal (MIT Press), Leonardo Music Journal (MIT Press), and the proceedings of all the standard conferences of the field (ICMC, CHI, SMC, and NIME). Vasquez received his education at the Sibelius Academy (FI), Aalto University (FI), and the University of Virginia (US). He has taken workshops with Robert Normandeau, Miller Puckette, Marco Stroppa, Steven Stucky, William Mival, Jonty Harrison and the Eighth Blackbird Ensemble, among others. Vasquez’s music is available in the catalog of Naxos, MIT Press (US), Important Records (US) and Phasma Music (Poland). nothing but nothing I prefer the space of uncommonly occupied hours. Alex Christie makes acoustic music, electronic music, and intermedia art in many forms. His work has been called “vibrant”, “interesting, I guess”, and responsible for “ruin[ing] my day”. He has collaborated with artists in a variety of fields and is particularly interested in the design of power structures, systems of interference, absurdist bureaucracy, and indeterminacy in composition. Recently, Alex’s work has explored the ecology of performance in intermedia art and interactive electronic music. Through real-time audio processing, instrument building, light, and theater, Alex expands performance environments to offer multiple lenses through which the audience can experience the work. Alex has performed and presented at a variety of conferences and festivals whose acronyms combine to spell nicedinsaucesfeeeemmmmmmnortfogascabsplot. Alex serves as faculty, Director of Electronic Music, Director of Composers Forums, and Academic Dean at the Walden School of Music Young Musicians Program. He holds degrees from the Oberlin Conservatory and Mills College and is currently pursuing a Ph.D. in Composition and Computer Technologies (CCT) at the University of Virginia. A mexican intervention In the second Trattado de Glosas by the composer and music theorist Diego Ortiz (Rome 1553 ca.) probably discovered later by the African- American songwriter J. Alan Bland, an ancient practice of appropriation is depicted as being common for the Viol Consort repertoire. It is a compositional strategy consisting of taking the melody of an anthem and imposing different lyrics. Such technique has been practiced in many of the regional anthems and state songs throughout The Country. A former president of Avon Products removed the lyrics from a traditional song — where a Canadian declares his love to the daughter of the Oneida Chief Shenandoah — replacing them to make the Virginia Regional Anthem. In later apocryphal studies, it is known that in this anthem–as in the one using the phrase Sic Semper Tyrannis–some verses have been lost or omitted. Following this implanting tradition, these forgotten or forbidden verses are used here to create and add a piece to the body of composed anthems for Viola Da Gamba. Ernesto Guzmán is an award loser composer. Strangely and recently intrigued about borders. As if they sculpted the political topographies of objects. Like a form resulting from many exclusions whose objectives do not correspond with the function of the object in question. Masking Songs Contrary to the masking of external sounds, it is possible to abolish the perception of tinnitus sounds by pure tones of a similar intensity regardless of their frequency (Feldmann, 1971). This proves that “masking” of tinnitus does not involve a mechanical interaction of basilar membrane movements, does not depend on the critical band principle and, therefore, has to occur at a higher level within the auditory pathways. Consequently, the elimination of the perception of tinnitus by another sound should be labeled suppression rather than “masking,” as is commonly used. Unfortunately, Feldmann’s fundamental discovery has been widely disregarded, resulting in focusing attention on masking rather than suppression and in producing tinnitus instruments tuned to the dominant perceived pitch of tinnitus. Tinnitus Retraining Therapy, Pawel Jastreboff, 2004 Daniel Fishkin: I build instruments because I want to live in sounds, with music—I don’t want the music to stop at the end of the concert. I daydream of new machines as if they were melodies crossing my mind's ear. I don’t often sell my instruments, though I do share them with my trusted collaborators. I live with my instruments; I am responsible for my creations, and I am always thinking about how much space they take up in my life, as I carry them with me to and fro. I hear their songs ringing in my ears, even as they rest silently across the room.

80. Technosonics XX - Concert II Old Cabell Hall (1:15:04)

Date:
2020-02-22
Summary:
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.