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- Date:
- 2025-01-22
- Main contributors:
- will rourk
- Summary:
- This video shows an animated flythrough of the gardens and garden house at the Anne Spencer House, Lynchburg, Va.; 3D pointcloud data was collected with FARO Focus 3D laser scanners; data processed with FARO Scene v.2023.0.1; animation produced with Autodesk ReCap v.2024;
- Date:
- 2024-09-30
- Summary:
- Date:
- 2024-09-30
- Main contributors:
- will rourk, wmr5a@virginia.edu, ORCID : 0000-0001-8622-5080
- Summary:
- Flythrough animation of 3D data collected on site at the Cabell Log House located in the Gospel Hill historic district of Staunton, Va, on 2024-03-21; in collaboration with the Historic Staunton Foundation (https://www.historicstaunton.org/) who own and manage this site; data collected with FARO Focus 3D lasers scanners, models X130, S70, S150; data processed with FARO Scene v. 2023.0.1;
- Date:
- 2024-08-13
- Main contributors:
- Kristin Jensen
- Summary:
- Date:
- 2024-06-21
- Main contributors:
- Schwartz, Robert
- Summary:
- Oral history interview with Robert “Bob” (Elmo) Schwartz, class of 1980, in-person, on June 21, 2024. Schwartz discussed his experiences as an openly gay student at UVA Law prior to the founding of Lambda Law Alliance; his work as treasurer of the undergraduate school’s Gay Student Union; and his memories playing for the North Grounds Softball League.
- Date:
- 2024-05-27
- Main contributors:
- Will Rourk
- Summary:
- Flythrough animation of 3D dataset collected at the Old Stone Jail, Palmyra, Virginia during the Spring 2023 semester for ARH5600; data was collected by students of ARH5600 on 2023-02-08 (exterior), 2023-0210 (interior), and 2023-04-28 (attic); data was collected using FARO Focus 3D lasers scanners; data processed with FARO Scene v. 2023 and animation produced with Autodesk ReCap v. 2023;
- Date:
- 2024-05-07
- Main contributors:
- Kristin Jensen
- Summary:
- Date:
- 2024-04-10
- Main contributors:
- Howard, A. E. Dick
- Summary:
- Oral history interview with UVA Law Professor A. E. Dick Howard, class of 1961, the longest serving professor at the University of Virginia at his retirement in 2024. Howard discusses his time as a student at the Law School and his experiences teaching law over his sixty-year career.
- Date:
- 2024-03-28
- Main contributors:
- Will Rourk
- Summary:
- Flythrough animation of 3D data collected at the Birdwood Mansion, east of Charlottesville; the data was collected with FARO Focus X130 3D lasers scanners; data was processed with FARO Scene v.2023.0.1 and edited with Autodesk ReCap 2024; the animation shows features uncovered in the basement during the renovation of the building including: - a brick entry platform, original to the early 19th c. phase of Birdwood - a masonry feature found in the late 19th c. coal room addition - examples of hand riven lathe in the hallway of the original early 18th c. portion of the house
- Date:
- 2024-03-28
- Main contributors:
- Will Rourk
- Summary:
- Animated flythrough of the 3D data collected at the Woolen Mills Chapel site in Charlottesville, Va, on 2024-03-22; data collected with FARO Focus 3D X130 and S70 laser scanners; data processed with FARO Scene v. 20223.0.1; data edited and optimized for animation output with Autodesk ReCap v.2024;
- Date:
- 2024-03-13
- Main contributors:
- Faulk, Cordel
- Summary:
- Oral history interview with Cordel Faulk, class of 2001, via Zoom, on March 13, 2024. Faulk discussed his education, his time at UVA as a law student, and his activities to recruit more LGBT+ students to UVA Law while working in admissions.
- Date:
- 2024-03-11
- Main contributors:
- Williams, Kenneth
- Summary:
- Oral history interview with Kenneth Williams, class of 1986, via Zoom, on March 11, 2024. Williams discussed his time as a member and president of UVA Law’s Gay and Lesbian Law Students Association, which later became UVA Law’s chapter of Lambda Law Alliance. He detailed events and activities during his tenure, including a successful campaign for the Law School to have an official sexual orientation nondiscrimination policy.
- Date:
- 2024-03-07
- Main contributors:
- Taylor, Hillary
- Summary:
- Oral history interview with Hillary Taylor, class of 2016, via Zoom, on March 7, 2024. Taylor discussed her time as a member and president of UVA Law’s chapter of Lambda Law Alliance, highlighting the group’s activities and events.
- Date:
- 2024-03-07
- Main contributors:
- Will Rourk
- Summary:
- This is a flythrough animation of the 3D data from laser scanner data collection at The Mews, Pavilion III, Academical Village, University of Virginia. Data was collected at different periods from 2016, 2023 and 2024. Data was collected with FARO Focus 3D laser scanners and processed with FARO Scene v.2023. Data was imported into Autodesk ReCap for editing and optimization and for the purpose of creating this animation video.
- Date:
- 2024-03-04
- Main contributors:
- Fife, Chloe
- Summary:
- Oral history interview with Chloe Fife, class of 2022, via Zoom, on March 4, 2024. Fife discussed her time as a member and president of UVA Law’s chapter of Lambda Law Alliance, highlighting the group’s events and activities, including a successful campaign for the installation of gender-neutral restrooms in the Law School.
- Date:
- 2024-02-29
- Main contributors:
- Allen, Michael
- Summary:
- Oral history interview with Michael Allen, class of 1985, via Zoom, on February 29, 2024. Allen discussed the formation and early activities of UVA Law’s Gay and Lesbian Law Students Association, which later became UVA Law’s chapter of Lambda Law Alliance.
- Date:
- 2024-02-11
- Main contributors:
- Judith Thomas
- Summary:
- Information session for the Course Enrichment Grants 2024-25 program
- Date:
- 2023-11-29
- Main contributors:
- Brandon Butler
- Summary:
- In this meeting of the Gen-AI Interest Group, Brandon Butler discusses the current legal situation with regard to Generative AI.
- Date:
- 2023-11-16
- Summary:
- Date:
- 2023-11-02
- Main contributors:
- Min, Catharina
- Summary:
- Oral interview of Catharina Min, class of 1990, co-founder of the Asian Pacific American Law Students Association (APALSA), who discusses her time at UVA Law and the founding of APALSA.
- Date:
- 2023-11-01
- Main contributors:
- Will Rourk, Megan Page, Charity Revutin, Amelia Hughes, Adriana Giorgis
- Summary:
- This is a flythrough animation of the 3D data captured at the Villa Almerico Capra Valmaran, aka Villa la Rotonda, in March 2019. Data was captured by University of Virginia Architectural History students under the direction of Andy Johnston and Will Rourk in collaboration with the Institute for Advanced Technologies in the Humanities at the University of Virginia and the de Valmarana family. The animation was created in Autodesk ReCap v.2023 by Will Rourk.
- Date:
- 2023-10-26
- Summary:
- Date:
- 2023-10-02
- Main contributors:
- Shayne Brandon
- Summary:
- This is a video of aerial footage of the Villa Almerico Capra Valmarana, aka Villa la Rotonda, Vicenza, Italy. This video was created by Shayne Brandon, Institute for Advanced Technologies in the Humanities, University of Virginia Library. It was produced from aerial footage captured by a DJI Inspire 1 quadcopter with X1 HD camera. The footage was captured during field work by UVA Architectural History students performed in March 2019 under direction of Andrew Johnston, Worthy Martin and Will Rourk for their 3 Cavaliers granted project to 3D scan the Villa la Rotonda in Vicenza, Italy.
- Date:
- 2023-09-22
- Summary:
- Date:
- 2023-07-21
- Main contributors:
- Balogun, Arafat Yinka, Cantarella, Claudia, Cole, Montina, Fort, Ann, Lewis Lee, Tonya, Lewis, Shireen, Cleary Lofton, Deborah, Preston, Tracy
- Summary:
- Oral history interview with Virginia Law Women members and leadership from 1986 to 1992, including Arafat Yinka Balogun ’89, Claudia Cantarella ’91, Montina Cole ’91, Ann Fort ’91, Tonya Lewis Lee ’91, Shireen Lewis ’89, Deborah Cleary Lofton ’92, and Tracy Preston ’91. The group discusses student activism, the curriculum, and building community at the Law School.
- Date:
- 2023-05-31
- Main contributors:
- Will Rourk
- Summary:
- This video contains the 2023 Spring semester final presentation for ARH5600/5612 3D Cultural Heritage Informatics, a class taught by Will Rourk as a collaboration between the UVA Library and the Historic Preservation Program in Architectural History. The class is sponsored by Andy Johnston, director of the ARH Historic Preservation Program. Students featured in this video include ARH5600 students Ari Calos, Austin Riggins, Boyang Li, Thomas Wyatt, Yara Mortada and Yizhuo Chen and ARH5612 advanced students Kelly O'Meara and MaryCate Azelborn. Featured team projects include the Long Meadow Farm Barn, Upper Bremo Barn and the Palmyra Old Stone Jail. Student final projects can be accessed from https://wordpress.its.virginia.edu/Cultural_Heritage_Data/arh-5600-5612-spring-2023/.
- Date:
- 2023-05-24
- Main contributors:
- Will Rourk
- Summary:
- This is an animation from the 3D data collected by University of Virginia ARH5600 during Fall semester 2023; data was collected using FARO Focus 3D laser scanners, processed with FARO Scene v. 2022 and edited and optimized with Autodesk ReCap v. 2023; the animation shows sections through the barn at River View Farm, Ivy Creek Natural Area, Charlottesville, Va;
- Date:
- 2023-05-24
- Main contributors:
- Will Rourk
- Summary:
- This is an animation from the 3D data collected by University of Virginia ARH5600 during Fall semester 2023; data was collected using FARO Focus 3D laser scanners, processed with FARO Scene v. 2022 and edited and optimized with Autodesk ReCap v. 2023; the animation is a flythrough of the Carr-Greer farmhouse at River View Farm, Ivy Creek Natural Area, Charlottesville, Va;
- Date:
- 2023-05-22
- Main contributors:
- Will Rourk
- Summary:
- Animation of the barn at River View Farm, Ivy Creek Natural Area, Charlottesville, VA; data collected with FARO Focus 3D laser scanners by students of ARH5600:3D Cultural Heritage Informatics during the Fall semester of 2022; Data was processed with FARO Scene v.2022; Animation was rendered with Autodesk ReCap v.2023;
- Date:
- 2023-04-18
- Main contributors:
- Will Rourk
- Summary:
- This is a rendered flythrough animation of the 3D data collected and processed for the former Midloch Plantation enslaved dwelling. Produced from 3d data collected with FARO Focus 3D laser scanners on 2023-03-28 and rendered using Autodesk ReCap Pro v. 2023.
- Date:
- 2023-03-04
- Main contributors:
- Katrina Spencer
- Summary:
- As part of the annual Southeast Regional Seminar in African Studies (SERSAS) at the University of Virginia, Librarian for African American & African Studies Katrina Spencer gathered three panelists who represent diverse stakeholding positions in the publication of African writers, particularly within “Western” markets. While Chinua Achebe's Things Fall Apart has received countless, deserved accolades and Chimamanda Ngozi Adichie’s profile continues to rise, what other names should we know and what trends should we be looking out for in terms of African writing? Nigerian writer Kenechi Uzor has established Iskanchi Press & Magazine to recruit quality works from African creators. Nigerian author Ukamaka Olisakwe’s success has led her to become a screenwriter. And Northwestern University’s Herskovits Library worker Gene Kanneberg, Jr. is keeping his finger on the pulse of pop culture with his writing, “Wakanda as the Window to the Study of Africa,” in the collection Integrating Pop Culture into the Academic Library (Melissa Edmiston Johnson, editor). Each of these players is creating a pathway for the representation of Africa and Africans, and together the four discuss the points at which their missions converge and diverge. The recorded session is sourced from the original virtual Zoom meeting. The panelists made reference to a variety of opportunities, publishers, and publications in this recording. Below we provide a list of references for viewers’ convenience: Melville J. Herskovits Library of African Studies Research Grant (https://www.library.northwestern.edu/libraries-collections/herskovits-library/herskovits-travel-grant.html) Iskanchi Press & Magazine (https://www.iskanchi.com/) Isele Magazine (https://iselemagazine.com/) Olongo Africa (https://olongoafrica.com/) The Enkare Review Pidgin English The Middle Daughter by Chika Unigwe In Such Tremendous Heat by Kehinde Fadipe An African Abroad by Olabisi Ajala After God is Dibia by John Anenechukwu Umeh Nsibidi (a writing system) africanpoetics.unl.edu Nnadozie Onyekuru Ajami manuscripts Chris Abani Bakassi Boys “Nigerian police detain goat over armed robbery” (https://www.reuters.com/article/oukoe-uk-nigeria-robbery-goat/nigerian-police-detain-goat-over-armed-robbery-idUKTRE50M4BM20090123)
- Date:
- 2023-01-12
- Main contributors:
- Will Rourk
- Summary:
- This video is from the final presentation of ARH5600 : 3D Cultural Heritage Informatics, Fall 2022. Students featured in this video include Junyi Wu, Yunong Li, Kelly O'Meara, Dustin Thomas and Elena Wrobel. Their final projects can be accessed at https://wordpress.its.virginia.edu/Cultural_Heritage_Data/arh5600-fall-2022.
- Date:
- 2023-01-12
- Main contributors:
- Will Rourk
- Summary:
- These are two recordings from 2022-09-07 made at the Bremo Enslaved Cemetery, Upper Bremo Farm, Fluvanna County, Virginia. The video includes two letters, one from Liberia to the former Bremo plantation written by Peyton Skipwith (1834) and the other coming from Lower Bremo former plantation to Liberia by Jack Creasy (1840). Both men were enslaved at the former Bremo plantations in the early 19th century. The Creasy letter is read by Horace Scruggs of the Fluvanna Historical Society and descendant of the Bremo enslaved. The Skipwith letter is read by Thomas Nynweph Gmawlue Jr, visiting student from Liberia participating in UVA Landscape Architecture class ALAR 8993 : Cultural Landscape Networks Across the Black Atlantic, lead by Professor Allison James. The readings were done as part of a collaborative field trip between ALAR 8993, ARH 5600 : 3D Cultural Heritage Informatics, lead Professor Will Rourk of the UVA Library and the Fluvanna Historical Society. Sources for the letter were provided by Tricia Johnson, executive director of the Fluvanna Historical Society. The source of the Creasy letter is from the Fluvanna Historical Society Bremo papers and the Skipwith letter is from UVA Library Special Collections.
- Date:
- 2022-11-15
- Summary:
- Date:
- 2022-11-12
- Summary:
- Date:
- 2022-08-19
- Main contributors:
- Winston Barham, Judy Thomas, Bethany Mickel
- Summary:
- Libra is UVA's institutional repository for scholarship. Depositing your work in Libra makes it available to the world while providing safe and secure storage. In this session, Winston Barham, Open Access Librarian, will provide the foundations for getting started in Libra with an eye towards OER deposits of text and media. In addition, he will introduce you to ORCID, a unique researcher identifier that you may use to connect your scholarship throughout your professional life. You will leave the session with concrete knowledge of how both Libra and ORCID can impact the sharing of your OER scholarship.
- Date:
- 2022-08-10
- Main contributors:
- Kong-Chow, Janet, Kuhn, Mary, O'Neill, Moira, Puri, Michael, Rogers, Dylan, Sewell, Jessica, Sheehy, Michael, Small, Ben, Coleman, Rebecca, Thomas, Judith
- Summary:
- Participants in the 2022 Research Sprints program report on their ongoing research.
- Date:
- 2022-07-20
- Main contributors:
- Brandon Butler, Judy Thomas, Bethany Mickel
- Summary:
- Join us for a conversation about navigating copyright when you create and use audio and audio-visual materials in OER.
- Date:
- 2022-07-20
- Main contributors:
- Bethany Mickel, Judy Thomas
- Summary:
- Creating a roadmap for your OER project work is a foundational step towards a well-structured project. In this session, we will discuss best practices for planning your OER project, how to set realistic and achievable goals, and ways to manage your workflow and communicate with collaborators in a streamlined and effective manner. This session is recommended for all those embarking on the creation of OER materials.
- Date:
- 2022-07-20
- Main contributors:
- Jessica Weaver-Kenney, Judy Thomas, Bethany Mickel
- Summary:
- Video integration is an effective way to take OER creation to the next level. Creating videos in a manner that allows for reuse and remixing requires a mindful approach to planning, recording, and distribution. In this session, Learning Design & Technology’s Jessica Weaver-Kenney will discuss actionable steps to create reusable and adaptable video. This session is recommended for individuals interested in creating open video content.
- Date:
- 2022-06-27
- Main contributors:
- Dalton, Claudette
- Summary:
- An oral history interview with Dr. Claudette Dalton, conducted at the Claude Moore Health Sciences Library on June 27, 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. Claudette Ellis Harloe Dalton lived in Charlotte, N.C., before attending Sweet Briar College. After graduation, she enrolled in post-baccalaureate courses at the University of Virginia in order to prepare for medical school. She matriculated at the UVA School of Medicine in 1970, the first year that UVA's undergraduate programs officially became co-educational. Dr. Dalton received her M.D. from the UVA School of Medicine in 1974, and she went on to an internship and anesthesiology residency at the University of North Carolina at Chapel Hill. While working in North Carolina, Dr. Dalton remained involved with the UVA Medical Alumni Association, and in 1989, she was invited to join the faculty of the UVA School of Medicine as the Assistant Dean for Alumni Affairs. With this appointment, Dr. Dalton became the first woman to hold the title of Assistant Dean in the history of the UVA School of Medicine. She held several positions during her tenure at the School of Medicine, including: Assistant Dean for Medical Education, Assistant Dean for Community Based Medicine, Director of the Office for Community Based Medical Education, and Assistant Professor for Medical Education. During her time on the faculty, Dr. Dalton served on the School of Medicine's Committee on Women and helped to coordinate an annual Women in Medicine Leadership Conference on behalf of the School of Medicine. In 1993, Dr. Dalton presented the opening remarks at the UVA School of Medicine Graduation Exercises. Dr. Dalton also served as the Chair of the Federation of State Medical Boards (FSMB) Ethics and Professionalism Committee, and she chaired the Southeastern Delegation to the American Medical Association from 2019-2021. In 1996, she was inducted into the Alpha Omega Alpha (AOA) Society. In 2002, she was awarded the Sharon L. Hostler Women in Medicine Leadership Award. An active alumna of the UVA School of Medicine, Dr. Dalton has served on the Medical Alumni Association Board of Directors, as well as on the Medical Alumni Newsletter editorial board, and acted as Class Representative for the Class of 1974.
- Date:
- 2022-06-07
- Main contributors:
- Jack Kelly
- Summary:
- Creation of accessible materials is essential to compliance with UVA's standards and guidelines; moreover, it is critical to creating an inclusive and engaged learning environment for all students. Join us for this workshop, led by UVA Library's Accessibility Designer, Jack Kelly. He'll discuss guidelines and best practices for multimedia accessibility that will guide your OER project development. This session is recommended for those embarking on the creation of open instructional resources.
- Date:
- 2022-05-25
- Main contributors:
- Hope Fitzgerald, Bethany Mickel, Judy Thomas
- Summary:
- H5P is a digital toolset for authoring content online. Content creators can design interactive videos, presentations, quizzes, and much more. H5P is used for interactive content creation in OER, and this workshop will introduce instructors to H5P and provide examples of how it is being used to engage students. This session serves as an excellent starting point for those new to the technology and those who need a refresher on some of the key functionalities.
- Date:
- 2022-05-14
- Main contributors:
- Vassar, Bobby, Ghee, James
- Summary:
- Oral history interview of Bobby Vassar and James Ghee, both class of 1972, took place on May 14, 2022, at the Law School during Reunion Weekend. Vassar and Ghee discussed their experiences as African American students at the Law School in the early 1970s, including reminiscences of professors and courses, as well as their experiences in the wider University and Charlottesville communities.
- Date:
- 2022-05-12
- Main contributors:
- Apprey, Maurice, 1947-
- Summary:
- An oral history interview with Dr. Maurice Apprey, conducted on May 12, 2022. This interview is part of a joint effort of the Claude Moore Health Sciences Library and the UVA Medical Alumni Association and Medical School Foundation. Maurice Apprey was born in Ghana, West Africa. He received a B.S. in Psychology, Philosophy, and Religion from the College of Emporia, Kansas, and graduated in 1974. Dr. Apprey was one of a small number of students who trained under Anna Freud at the Hampstead Clinic in London, from which he graduated in 1979. After studying phenomenological psychological research and hermeneutics with Amedeo Giorgi at the Saybrook Institute in San Franciso, CA, Dr. Apprey received a Ph.D. in Human Science Research. He later pursued a doctorate in Executive Management from the Weatherhead School of Management at Case Western Reserve University. In 1980, Dr. Apprey joined the faculty of the UVA School of Medicine in the department of Psychiatry and Neurobehavioral Sciences. In 1982, he was appointed Assistant Dean of Student Affairs. His work with current and aspiring medical students continued for two and a half decades, and he was later appointed the Associate Dean of Diversity at the School of Medicine (in 1992) and the Associate Dean of Student Support (in 2003). During these years, Dr. Apprey was highly effective in increasing the number of students from under-represented backgrounds at medical school through initiatives like the Medical Academic Advancement Program (MAAP). He taught undergraduates, medical students, residents in psychiatry and psychology, and hospital chaplains, among others. In 2007, Dr. Apprey was invited to become Dean of the Office of African-American Affairs for the University of Virginia. He accepted and served in that role until his retirement in 2022.
- Date:
- 2022-04-29
- Main contributors:
- Curry, Barbara Hasko
- Summary:
- An oral history interview with Dr. Barbara Hasko Curry, conducted at the Claude Moore Health Sciences Library on April 29, 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. Barbara Ann Hasko Curry of Silver Spring, Maryland, graduated from high school in 1967 and entered the University of Virginia School of Nursing, finishing with a B.S. in Nursing in 1971. Her interests in the health sciences inspired her to return to UVA to complete the prerequisite courses needed to apply for medical school. In 1973 she was admitted to the UVA School of Medicine, and she graduated from the medical school in 1977. After graduation, Curry completed an internship at Dartmouth Affiliated Hospitals in Hanover, NH, and a residency at Providence Medical Center in Portland, OR. Dr. Curry became board certified in Emergency Medicine in 1981 and joined the Billings Clinic in Billings, MT, in 1990. After the merger of the Billings Clinic and Deaconess Medical Center, Dr. Curry served as Chair of the Emergency Department at Deaconess Billings Clinic. (“Deaconess” was then dropped from the name in 2005.) In 2007, a state-of-the-art Emergency and Trauma Center opened at the Billings Clinic. Dr. Curry lives and continues to practice in Billings, MT.
- Date:
- 2022-04-06
- Summary:
- Invited speaker Leonardo Flores examines the impact of digital divides in the United States on the emergence of electronic literature as a practice and field, ending with a call for a more expansive term such as "digital writing" to help diversify the field. Professor Flores' talk was part of the Scholars' Lab speaker series at the University of Virginia, April 6, 2022; recorded via Zoom in the presence of a live audience.
- Date:
- 2022-04-05
- Main contributors:
- Will Rourk
- Summary:
- This movie is an animated flythrough of the 3D point cloud data documentation of the Pine Grove Rosenwald School, Cumberland County, Virginia, ca. 1917. Data was collected by ARH 5600 Fall 2021 class students Zhang Jie, Natalie Chavez, Matthew Schneider, Chris MacDonnell. Equipment used included (2) X 130 and (1) S120 FARO Focus 3D laser scanners. Data was collected in support of community preservation efforts - more info at https://www.ammdpinegroveproject.com/.
- Date:
- 2022-03-28
- Main contributors:
- Rajguru, Sujaya
- Summary:
- Oral history interview of Sujaya Rajguru, class of 2022, via Zoom, on March 28, 2022. Rajguru discussed VLW programs and activities supporting women law students’ education and career interests, as well as VLW administration issues.
- Date:
- 2022-03-15
- Main contributors:
- Ikari, Carolyn
- Summary:
- Oral interview of Carolyn Ikari, class of 1993, via Zoom, on March 15, 2022. Discussion of Ikari’s tenure as president of Virginia Law Women (VLW) and VLW programs and activities of that period. Discussion of feminism at the Law School in the ‘90s and the relative lack of ethnic and cultural diversity at the time. Reminiscences of the Law School and Law School life in the ‘90s.
- Date:
- 2022-03-04
- Summary:
- Date:
- 2022-02-07
- Main contributors:
- Cheema, Manal
- Summary:
- Oral history interview of Manal Cheema, class of 2020, via Zoom, on February 7, 2022. Cheema discussed issues and challenges regarding diversity within Virginia Law Women (VLW). Cheema also discussed VLW programs and activities supporting women law students’ education and career interests, as well as VLW administration issues.
- Date:
- 2022-02-02
- Main contributors:
- Redmond-Smith, Celeste
- Summary:
- Oral history interview of Celeste Redmond-Smith, class of 1985, via Zoom, on February 2, 2022. Redmond-Smith discussed sexism at the Law School and in law firms’ employment practices in the 1980s. Redmond-Smith also discussed Virginia Law Women (VLW) programs supporting women law students during the employment interview process, and gave her views on diversity in the Law School and VLW.
- Date:
- 2022-01-27
- Main contributors:
- Tal, Danit
- Summary:
- Oral history interview via Zoom on January 27, 2022, of past President Danit Tal, class of 2015. Tal discussed experiences of her mother, a lawyer, raising Tal while practicing law, and the challenges associated with working, as a woman, for large law firms (Big Law). Tal reviewed programs implemented while VLW president to support women Law students, including a faculty dinner program and Women in Big Law. Also discussed were challenges of managing VLW generally, and VLW leadership transitions.
- Date:
- 2022-01-25
- Main contributors:
- Trimble, Elizabeth, Brantley, Ellen Bass
- Summary:
- Oral history interview of Ellen Brantley, class of 1973, and Elizabeth Trimble, class of 1973, via Zoom, on January 25, 2022. Brantley and Trimble discussed why they decided to study law, how they chose UVA Law School, and how Virginia Law Women (VLW) was established. Review of early VLW recruitment efforts and programs. Brantley and Trimble reminisce about Law School life in the early 1970s.
57. ARH5600 : 3D Cultural Heritage Informatics Fall 2021 Final Presentation (with captions) (2:18:00)
- Date:
- 2022-01-10
- Main contributors:
- Will Rourk
- Summary:
- This video is from the final presentation of ARH5600 : 3D Cultural Heritage Informatics, Fall 2021. Students featured in this video include Zhang Jie, Natalie Chavez, Matthew Schneider, Chris MacDonnell. Their final projects can be accessed at https://wordpress.its.virginia.edu/Cultural_Heritage_Data/pedagogy/cultural-heritage-informatics-internship/arh-5600-fall-2021/.
- Date:
- 2021-11-22
- Main contributors:
- Daszkiewicz, Rosemary
- Summary:
- Oral history interview of Rosemary Daszkiewicz, class of 1986, via Zoom, on November 22, 2021. Daszkiewicz discussed Virginia Law Women (VLW) recruitment, as well as programs and activities supporting women law students in their studies and employment searches. Daszkiewicz also gave her views on sexism, diversity, and inclusivity at the Law School during 1980s, as well as diversity within VLW at the time.
- Date:
- 2021-11-19
- Main contributors:
- Tompkins, Dorothy G.
- Summary:
- An oral history interview with Dr. Dorothy G. Tompkins, conducted at the Claude Moore Health Sciences Library on November 19, 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. Dorothy Ellen Guild Tompkins was born in 1941 and grew up in Louisa County, VA. She majored in biology at the College of William and Mary (graduating in 1962) before matriculating at the University of Virginia School of Medicine. She graduated from medical school in 1966, one of three women in her class. In 1972, Tompkins returned to UVA as a Fellow in Pediatric Cardiology. She went on to be appointed Assistant Professor of Pediatrics in 1973 and Associate Professor of Pediatrics in 1979. Later she worked in the area of addiction treatment, and from 2003-2006 Tompkins served as a pediatrician in the UVA Department of Psychiatric Medicine. A passionate and dedicated teacher, Tompkins received the Dean's Award for Excellence in Teaching and was elected to the School of Medicine's Academy of Distinguished Educators during her time at UVA. In recent years, Tompkins has been active in local non-profit work, including master gardener, naturalist, and tree steward programs, and extensive work with women recovering from substance abuse and trauma. She helped found an organization called Georgia's Friends, which operates Georgia's Healing House, a supportive residential home for women in recovery. Tompkins is married to Dr. William Fraser Tompkins III (also a member of the UVA SOM Class of 1966). They live in Central Virginia.
- Date:
- 2021-11-15
- Main contributors:
- Thompson, Linda R.
- Summary:
- An oral history interview with Dr. Linda R. Thompson, conducted via Zoom by the Claude Moore Health Sciences Library on November 15, 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. Linda Ruth Thompson was born in 1941 in Bristol, Tennessee. She attended King College (now King University) in Bristol, TN, and graduated Magna cum Laude in 1962. Thompson attended the University of Virginia School of Medicine and graduated from medical school in 1966; she was one of three women who graduated in the Class of 1966. After graduation, Thompson completed a rotating internship at the State University of Iowa Hospital in 1967, and then returned to UVA for a residency in psychiatry (1967-1971). She served as the Chief Resident during her final year of residency and also as an Instructor in Psychiatry (1970-1971). Following her residency, she worked as a staff psychiatrist at the Northern Virginia Mental Health Institute in Fairfax, VA, before going into private practice in the Washington, DC, area. Dr. Thompson pursued psychoanalytic training at the Washington Psychoanalytic Institute, and graduated from the psychoanalysis program in 1983. In 1984, she moved to the Tri-Cities area of northeastern Tennessee and southwestern Virginia, where she has maintained a general psychiatric practice since 1984. Thompson also worked as a consultant until 2014, primarily with regional mental health centers, and she attended psychiatric patients at local community hospitals. In 2016, Thompson published a book about her experiences with breast cancer, which she was diagnosed with and treated for in 2007 and 2008. She continues to practice medicine part-time in Bristol, TN, and writes about issues in modern healthcare. In addition to her book Surviving Breast Cancer, Thompson is the author of two additional books: Return to Asylums: A Prescription for the American Mental Health System, published in 2016, and Old School Medicine: Lower Tech Care to Improve the High Tech Future of Healthcare, published in 2018. This is a shortened version of the oral history interview conducted with Dr. Thompson in November 2021. The full length interview remains restricted until 2047.
- 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.
- 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.
- 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.
- 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
- 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.
- Date:
- 2021-03-26T15:00:00+02:00
- Summary:
- 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
- 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
- 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
- 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
- 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
- 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
- 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.
- 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.
- 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.
- 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.
- 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.
- 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.
- 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.
- 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.
- Date:
- 2020-02-21
- Main contributors:
- MacFarlane, Gerald
- Summary:
- Oral history interview with Gerald J. MacFarlane, class of 1970, at Shenandoah University in Winchester, VA. MacFarlane discusses events surrounding the UVA student strike in May 1970 against the Vietnam War, and his participation as a legal marshal.
- Date:
- 2020-02-21
- Main contributors:
- McIntire Department of Music
- Summary:
- 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.
- Date:
- 2020-02-19
- Main contributors:
- Sullivan, Daniel
- Summary:
- Oral history interview with Dan Sullivan, class of 1970. Sullivan discusses the events surrounding the UVA student strike in May 1970 against the Vietnam War, and his participation in the events as a legal marshal.
- Date:
- 2020-02-10
- Main contributors:
- Vasaly, Charles
- Summary:
- Oral history interview with Charles “Chuck” Vasaly, class of 1970, in Arlington, Virginia. Vasaly discusses the events surrounding the UVA student strike in May 1970 against the Vietnam War, and his participation as a legal marshal.
- Date:
- 2020-02-05
- Main contributors:
- Taddune, Paul
- Summary:
- Oral history interview with Paul Taddune, class of 1971, in his law office in Aspen, Colorado. Taddune discussed his time attending UVA Law School and the impact of the Vietnam War on students.
- Date:
- 2020-02-05
- Main contributors:
- Olson, Robert
- Summary:
- Oral history interview with Robert W. “Bob” Olson, class of 1970. Olson discusses the events surrounding the UVA student strike in May 1970 against the Vietnam War, and his participation in the events as a legal marshal.
- Date:
- 2019-10-09
- Main contributors:
- McIntire Department of Music
- Summary:
- 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.
- Date:
- 2019-10-04
- Main contributors:
- McIntire Department of Music
- Summary:
- Fred Frith Trio: Fred Frith, guitar Jason Hoopes, bass Jordan Glenn, drums Special Guests: Susana Santos Silva, trumpet Heike Liss, video Friday, October 4, 2019 8:00 pm Old Cabell Hall Auditorium University of Virginia The Fred Frith Trio began life almost by accident in 2013. A couple of low key local gigs gave rise to a European tour, a debut record on Intakt, and then another tour a couple of years later. By now the group has created an identity that seems to revolve around memories of a bygone psychedelic era filtered through the lens of razor-sharp improvisation. Whether this will remain the prevalent focus remains to be seen. Their last Intakt CD, Closer to the Ground, has been described as “a gripping piece of spontaneous timelessness,” “a vital statement from a singular artist and his inventive crew,” and “a magical, transcendent world.” The trio regularly cooperates with musical guests such as trumpeter Susana Santos Silva or saxophonist Lotte Anker, and visual artist Heike Liss. Fred Frith is a songwriter, composer, improviser, and multi-instrumentalist best known for the reinvention of the electric guitar that began with Guitar Solos in 1974. He learned his craft as both improviser and composer playing in rock bands, notably Henry Cow, and creating music in the recording studio. Much of his compositional output has been commissioned by choreographers and filmmakers, but his work has also been performed by Ensemble Modern, Hieronymus Firebrain, Arditti Quartet, Robert Wyatt, Bang on a Can All Stars, Concerto Köln, and Rova Sax Quartet, among quite a few others. Fred enthusiastically records and performs all over the place with icons of contemporary music, younger players you may never have heard of, and everyone in between. He is the subject of Nicolas Humbert and Werner Penzel’s award-winning documentary film Step Across the Border. Jordan Glenn, drums, spent his formative years in Oregon drawing cartoons, taking dance classes from his aunt, and putting on plays with his sisters. As he got older, he began making movies with his friends and studying lots of jazz, classical, and rock music. In 2006, he relocated to the Bay Area where he has since worked closely with Fred Frith, William Winant, Zeena Parkins, Ben Goldberg, Todd Sickafoose, John Schott, Dominique Leone, Lisa Mezzacappa, Karl Evangelista, Michael Coleman, and the bands Jack O’ The Clock, Arts & Sciences, Beep!, tUnE-yArDs, and the Oakland Active Orchestra. Jordan leads and conducts the long-standing trio Wiener Kids—and its ten piece expansion, The Wiener Kids Family Band—and directs the conduction ensemble Beak. Jason Hoopes, bass, was born and raised in the mountains of Northern California. He began teaching himself to play guitar and bass in high school after discovering thrash-metal, and eventually found himself at Mills College where he met Jordan Glenn and studied with Fred Frith, Roscoe Mitchell, Zeena Parkins, and Joëlle Léandre. Since graduating from Mills, Jason has become a highly sought after bassist in the Bay Area’s diverse and explosive music scene. Primarily recognized for his work with the critically acclaimed avant- rock band Jack O’ The Clock, as well as with Annie Lewandowski’s powerdove and Dominique Leone, he also improvises in a wide range of contexts. Susana Santos Silva is a Portuguese trumpet player, improviser, and composer based in Stockholm, Sweden. In the last years, she has been considered by the international press as one of the strongest emerging voices in contemporary jazz and improvised music, “one of the most exciting improvisers in the world” (Downbeat). With a singular approach/voice that comes out of a comprehensive spectrum of influences, from classical and contemporary music to jazz and textural sound art, she is interested in stretching the boundaries of the instrument and exploring new ways of expression within music. Her music has been described as “startling, intoxicating, ecstatic, stoically intense, beautiful, overwhelming, mesmerizing, innovative, bold and creative.” She leads her projects Impermanence and Life and Other Transient Storms and co-leads duos with Kaja Draksler and Torbjörn Zetterberg—also in trio with Hampus Lindwall, Child of Illusion and Hearth. In 2018, she released her first solo album, All the Rivers, on Clean Feed Records. Much in demand, she has played, among many others, with Fred Frith, Evan Parker, Joëlle Léandre, Mat Maneri, Craig Taborn, Paul Lovens, Mats Gustafsson, and Hamid Drake. Heike Liss has been developing and refining tools that allow her to mix and digitally draw over personal video footage in response to and in dialogue with improvised live music. Drawing Sound is a collaboration with her partner and traveling companion Fred Frith. Together they have performed with musical improvisers such as Lotte Anker, Ikue Mori, Okkyung Lee, Chris Cutler, Susana Santos Silva, and Shelley Hirsch among others. Heike also performs live visuals with skratchklang, her duo with violinist/composer Thea Farhadian. Heike takes her cues from the people and the world around her and works in a variety of media, including video, photography, drawing, sculpture, site specific installation, and public intervention. Her award-winning work has been exhibited internationally in museums, galleries, and at film and music festivals. She has collaborated with choreographers Sonsherée Giles and François Verret; musicians Ellen Fullman, GAW, Marcus Weiss, Caroline Penwarden, and Theresa Wong; multi-media artists Ellen Lake, Nomi Talisman, and Michael Trigilio; painter Soffia Saemundsdottir; and poet Lyn Hejinian, to name a few. She lives and works in Oakland and Basel and teaches Transdisciplinary Art at the Universidad Austral de Chile.
- Date:
- 2019-04-29
- Main contributors:
- McIntire Department of Music
- Summary:
- 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.
- Date:
- 2019-03-27
- Main contributors:
- University of Virginia. School of Medicine
- Summary:
- Even as the University of Virginia and other medical schools across the U.S. prepare to graduate a new wave of physicians, what will be these doctors' roles and responsibilities in a health care system increasingly stressed by social and political pressures, cultural challenges, and financial shortfalls? And what will be—what should be—expected of physicians and the medical profession in years to come, in their practice, in communities, in policy circles, in the public square? In this Medical Center Hour, Dr. Christine Cassel, a longtime leader in medicine and medical education, offers her perspectives on what should be expected of physicians and other health professionals in coming years--in their practice, in their communities, in government and policy circles, and in the public square.
- Date:
- 2019-03-20
- Main contributors:
- University of Virginia. School of Medicine
- Summary:
- One of medicine’s open secrets is that some patients request reassignment, or degrade, belittle, or harass health care professionals based on those professionals' race or ethnicity. Such patient conduct can raise thorny ethical, legal, and clinical challenges, and can be painful, confusing, and scarring for the physicians and other clinicians involved. This widely practiced, yet scarcely acknowledged, phenomenon poses a fundamental dilemma for law, medicine, and ethics. It also raises hard questions about how we should think about identity, health, and individual autonomy in the healthcare context and how we manage communication around representations of racial and ethnic bias. In this Koppaka Lecture, Drs. Lo and Paul-Emile will discuss their framework for considering and addressing this phenomenon. The Koppaka Family Foundation Lecture in Medical Humanities
- Date:
- 2019-03-13
- Main contributors:
- University of Virginia. School of Medicine
- Summary:
- Anthropologist, activist, and priest Roshi Joan Halifax is the founder and head teacher of the Buddhist monastery, Upaya Zen Center. Seventeen years ago at Upaya, she pioneered a new form of bedside contemplative care known as "Being with Dying," which has since helped to illuminate and change the psychosocial, ethical, and spiritual care of the dying. Halifax's newest work probes what she calls five "edge states" of how we become involved with our fellow beings: altruism, empathy, integrity, respect, and engagement. In this Bice Memorial Lecture, she explores the risks and the opportunities for courage and compassion that persons in the helping professions encounter "at the edge." Bice Lecture, Co-presented with the School of Nursing, UVA
93. Sugar! (1:02:48)
- Date:
- 2019-03-06
- Main contributors:
- University of Virginia. School of Medicine
- Summary:
- Why do modern Americans eat so much sugar, and to what effect? This Medical Center Hour offers dual perspectives on the sweet stuff, what it does to/in us, and its many meanings in history and for health. UVA historian David Singerman and UVA physician Jennifer Kirby examine sugar’s impact on the body—past and present, historically, socially, physiologically, and nutritionally.
- Date:
- 2019-02-28
- Main contributors:
- Hogshire, Edward
- Summary:
- Oral history interview with Edward Hogshire, class of 1970. Hogshire discusses the events surrounding the UVA student strike in May 1970 against the Vietnam War, and his participation in the events as a legal marshal.
95. Learning from the suffering of patients: the empirical challenge of 21st century medicine (59:18)
- Date:
- 2019-02-27
- Main contributors:
- University of Virginia. School of Medicine
- Summary:
- Twenty-first century physicians and other clinicians who are caring for patients in an era of unlimited knowledge, rapid knowledge turnover, and ever-more-sophisticated artificial intelligence (Watson!) increasingly need new skills and strategies. Such practitioners need too a renewed capacity for compassion. In this Medical Center Hour, eminent physician leader Dr. Steven Wartman, 2019 recipient of UVA's Brodie Medical Education Award, maps this critical juncture and challenges educators and other health professional leaders to reimagine and reengineer how we prepare doctors and other health care practitioners. The Brodie Medical Education Award Lecture
- Date:
- 2019-02-13
- Main contributors:
- University of Virginia. School of Medicine
- Summary:
- Amid the current opioid epidemic in the U.S., discourse around addicts and addiction can be overwhelmingly negative, pessimistic, and hopeless, reinforcing negative stereotypes. Even in health care, negativity about addiction prevails, making it more challenging for clinicians and organizations to respond with appropriate care, services, and resources. The toll of addiction is staggering. But while statistical and fiscal analyses of the national epidemic can also overwhelm and add to the negativity, might we gain a different view of addiction by accessing the particular experience of it, as it affects individuals and also their families? To know better what is at stake and how to foster recovery, this Medical Center Hour turns to poets Kate Daniels and Owen Lewis for their response to addiction when it strikes close to heart and home. How can writing serve to access the lived experience of addiction—in this case, addiction inside the family circle—and how might writing aid in recovery, for everyone involved?
- Date:
- 2019-02-06
- Main contributors:
- University of Virginia. School of Medicine
- Summary:
- We've long known about books' ability to comfort, but can they have the power to heal? At a time when burnout is rife among practicing physicians and other clinicians, health care organizations are introducing systemic changes, including wellness programs. Beyond this, though, what might individual clinicians do to stave off burnout and fuel emotional resilience? New research suggests burnout relief may be as close at hand as a good novel. Reading for pleasure--especially, reading literary fiction--seems to enhance empathy and combat emotional exhaustion and depersonalization, thereby improving doctors' abilities to connect with the persons who are their patients and find joy in their work. Indeed, if reading for relaxation makes such a difference, should reading literature be a prescribed part of physician education and training? In this Medical Center Hour, Drs. Daniel Marchalik and Hunter Groninger examine emerging research on books' benefits for doctors and trace their own experience with the Literature and Medicine track at the Georgetown University School of Medicine.
- Date:
- 2019-02-01
- Summary:
- Program 5_aerify arid conduits | InlandOutlines - Omar Fraire Triac - Ben Luca Robertson Musings - Aaron Stepp Convection - Juan Carlos Vasquez Centrifuge - Alex Christie in the event of my - Becky Brown Night Music - Christopher Luna-Mega About the Ensemble Splinter Reeds is the West Coast’s first reed quintet, comprising five innovative musicians with a shared passion for new mu- sic. The ensemble is committed to presenting top tier performances of today’s best contemporary composition, showcasing the vast possibilities of the reed quintet, commissioning new works, and collaborating with fellow musicians and artists. As a relatively new chamber music genre, the reed quintet is an evolutionary detour from the traditional woodwind quintet with the advantages of a more closely related instrument family. With approximately 20 professional reed quintets worldwide, Splinter Reeds is explicitly dedicated to cutting edge com- position and expanding the existing reed quintet repertoire through the development of new works by emerging and established composers. Splinter Reeds formed in 2013 with the coming together of five col- leagues highly active in multiple facets of the Bay Area’s vibrant music scene: Kyle Bruckmann (oboe), Bill Kalinkos (clarinet), David Wegehaupt (saxophone), Jeff Anderle (bass clarinet), and Dana Jessen (bassoon). The sum of their wide ranges of experience – in settings including free jazz, improvisation, electronic music, pop, punk and metal as well as classical – has enabled them to rapidly zero in on a distinct aesthetic identity. Recent concert engagements have included performances at Chicago’s Constellation, the Mondavi Performing Arts Center, Berkeley Art Museum, Switchboard Music Festival, FeNAM (Sacramento), April in San- ta Cruz Festival of Contemporary Music, Center for New Music (San Francisco), and the Presidio Sessions series. Additionally, they have held residencies at Stanford, Chapman, Northwestern, UC-Berkeley, UC- Davis and the San Francisco Conservatory of Music. The ensemble has received grant awards from Chamber Music America, New Music USA, the Alice M. Ditson Fund at Columbia University, the Zellerbach Fam- ily Foundation, and the San Francisco Friends of Chamber Music. Splinter Reeds is fiscally sponsored through the San Francisco Friends of Chamber Music. www.splinterreeds.com Program Notes 5_aerify arid conduits | InlandOutlines – Omar Fraire “ It is truly no feat to blow a tube, and therefore no one would think to gather an audience for the purpose of entertaining them with tube blowing. But if he should do so, and if he should succeed in his aim, then it cannot be a matter of mere tube blowing. Or alternatively, it is a matter of tube blow- ing, but as it turns out we have overlooked the art of tube blowing because we were so proficient at it that it is this new tube blower who is the first to demonstrate what it actually entails, whereby it could be even more effective if he were less expert in tube blowing than the majority of us. “ FDC oegf. Human as an artist, inventor, magician, curator, teacher, performer. After having deserted from two universities in México, he specializes in Sonology (Koninklijk Conservatorium - Holland) and holds a Master’s de- gree in Contemporary Art as auditor (Aguascalientes). His work is inserted into reality by transducing it and functions as an act of resistance. Enjoys collaborative work and his energies oscillate across fields of knowledges/arts. Creator of Punto Ciego Festival and artist of the Gug- genheim Aguascalientes, mostly self-taught although he holds an M.A. with Alvin Lucier at Wesleyan and studies Ph.D. at UVA. Triac – Ben Luca Robertson “Triac” investigates self-regulating sonorities and the intersection between tuning and timbre. Through a recursive process of real-time analysis, re- synthesis, and intuitive mapping, the combinatory spectral attributes of the wind quintet and accompanying electronics guide both the tuning and temporal structure of the piece. Applying a mathematical model developed by Pantelis Vassilakis, the composer defines cumulative roughness between harmonic partials—an important feature in how we perceive consonance/ dissonance—as a deterministic function for designing a microtonal tuning system that is sympathetic to the most indelible qualities of each instrument. Guided by software programmed by the composer, the ensemble manipulates the intensity of individual partials, thereby minimizing or maximizing the listener’s perception of roughness as the piece unfolds. Akin to a “spectral thermostat,” this self-regulating system continually analyzes current conditions (e.g. cumulative spectral roughness), defines new roughness thresholds, calculates what conditions must change to match these thresholds, and directs performers to adjust pitch and dynamics accordingly. 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 systems, and microtonality. Growing up in the inland Pacific Northwest, impressions of Ponderosa pine trees, channel scablands, basalt outcroppings, and relics of boomtown decay continue to 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 biolo- gists from the University of Idaho to sonify migratory patterns of Chi- nook Salmon. Ben’s work has been featured at New Interfaces for Musical Expression (NIME), Sound & Music Computing (SMC) Conference (Ireland), New York Re-embodied Sound Symposium, Third Practice, Magma, and Olympia Experimental Music Festival. Musings – Aaron Stepp “Musings” is an exploration of a piece of music that I love deeply, the Bach’s WTC, Book I, C Major prelude. It is an elegant, clean, and beautiful piece of music that I have a deep connection with. Witold Lutosławski describes listening to music as a composer being “schizophrenic,” listen- ing to and exploring the piece at the same time. I try to bring you along for that journey in my head (through the lovely performers on stage), and compose using the materials of the Bach. Think of the piece as a theme and variations, except the theme is a piece, and the variations occur as the piece unfolds. Aaron Stepp is a composer from Kentucky. He has completed commissions for TrioArsenal, Orchestra Enigmatic, Merrilee Elliott, KMEA 7th District Honors Band, Eva Legene, the Kentucky Governor’s School for the Arts, Second/Cycle, and Duo Passionato. He has received performances at SEAMUS, the KMEA Conference, and in Berlin, New York City, Chicago, Riverside, Washington D.C., Quito, and at various universities across the country. He recently finished a significant song cycle for Soprano and Flute named Stone Walls, based on the poetry of Charlottes- ville native Rebecca Morgan Frank. Upcoming projects include a collaboration with poet Annie Kim, a piece for American Trombone Quartet, a documentary score about women in India, and another collaboration with Rebecca Morgan Frank. Convection - Juan Carlos Vasquez “Convection” is a piece for ensemble and electronics that features a transference of spectral energy from one state of white noise into a final state featuring a single sustained pitch, in a way that resembles bulk displace- ment of sonic elements. This composition was written specially for the Splinter Reeds ensemble. Juan Carlos Vasquez is an award-winning composer, sound artist, and researcher from Colombia. His electroacoustic music works are per- formed constantly around the world and have been premiered in 28 countries across the Americas, Europe, Asia and Australia. Vasquez has received creation grants and/or commissions by numerous institutions, including the Nokia Research Center, the Ministry of Culture of Colombia, AVEK (Promotion Center for Audiovisual Culture in Finland), the Finnish National Gallery, the University of Virginia, the Sibelius Birth Town Foundation, Aalto University, the Arts Promotion Centre in Finland and the CW+ in partnership with the Royal College of Music in London, UK, among others. Vasquez received his education at the Sibel- ius Academy (FI), Aalto University (FI), the University of Virginia (USA), and has taken courses with Andy Farnell, Miller Puckette, Marco Stroppa, Steven Stucky and Jonty Harrison, among others. As a researcher, Vasquez’ writings can be found at the Computer Music Journal and the proceedings of conferences such as the International Computer Music Conference, the ACM CHI Conference on Human Factors in Computing Systems, the International Sound and Music Computing Conference, and the International Conference on New Inter- faces for Musical Expression. Official website: www.jcvasquez.com Centrifuge – Alex Christie “Centrifuge” is about mass and gravity. The instruments exert force and pull on each other. Some exert more force than others, continually pulling the rest of the ensemble back to a center. This gravity creates an internal motion within the ensemble that in turn produces the slow, heavy motion of the full group. We simultaneously feel the weight of stasis and force of motion. 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. He is currently based in Charlottesville, Virginia. 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, video, 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 nicedinsaucesfeemmmmmogscabsplot. 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. Other interests include baseball and geometric shapes. in the event of my – Becky Brown When I was in high school, there was a block near me that had a Chinese restaurant, a big craft store, and a shoddy movie theater. When the Chinese place shut down, I realized none of the kids in the area after us would share the memory of trying to bring too many people to sit at one table, ordering the wrong thing off the menu, and then stressing about getting to a movie on time. That’s when I realized what aging felt like. The craft store and the movie theater shut down not long after. 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. 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.” Brown has been the Technical Director of the Electroacoustic Barn Dance, and Assistant Technical Director for Third Practice and SPLICE Institute. Her music has been performed at SEAMUS, SCI National/Regional, Third Practice New Music Festival, Ball State New Music Festival, and in Beijing, China. Hold Still, her work for live art and electronics, was released on the New Focus Recordings label in 2017. Night Music – Christopher Luna-Mega All the musical materials performed by Splinter Reeds are derived from direct transcriptions and arrangements of recordings of the summer dusk and night sounds of insects and other creatures in a Virginia forest. Every movement in the piece is a fragment taken from the 40-minute original recording. The striking increase in density and loudness as dusk becomes night is the guiding formal principle of the piece. The recordings, featured in the electronics, were made with five simultaneous microphones in a pentagonal formation, at a distance of ~30 meters between each mic. Each of the five microphone analyses and transcriptions was assigned to an instrument (mic 1 to ob.; mic 2 to cl., etc.), rotating the pairings in each movement. The multi-channel recording sought an expanded listen- ing field resulting from the different microphone responses and placings. Among the various features of the night sounds, one particularly caught my ears: constantly microtonally morphing triads and their aggregates resulting from the superimposition of the multitude of crickets. Christopher Luna-Mega is a composer and improviser from Mexico City. He studied Composition at the Universidad Nacional Autónoma de México –UNAM (B.M.) and Mills College (M.A.), as well as Film/Com- munication Theory at the Universidad Iberoamericana –UIA, Mexico City (B.A.). His work analyzes sounds from natural and urban environments and translates them into notated music for performers and electronics. His music has been performed by the Orchestra del Teatro Comunale di Bologna, BBC Scottish Symphony Orchestra, Iceland Symphony Orchestra, Montreal-Toronto Art Orchestra, New Thread Quartet, Arditti String Quartet and JACK Quartet, among others. His music has been featured in festivals such as the New York City Electroacoustic Music Festival, Seoul International Computer Music Festival (Gwanju), AgelicA (Bologna), Tectonics (Reykjavik), Tectonics (Glasgow), L’Off (Montreal), Avant X (Toronto), Mills Music Now (Oakland, CA), and the International Forum for New Music “Manuel Enriquez” (Mexico City). Luna-Mega is a Ph.D. candidate at the University of Virginia.
- Date:
- 2019-01-30
- Main contributors:
- University of Virginia. School of Medicine
- Summary:
- Whistle Words is a multimedia project helping women reclaim their sense of self after a life-changing cancer diagnosis--with the simple aid of a pen. Charlottesville-based Whistle Words offers writing workshops for women in and after cancer treatment. Being part of this project as an adjunct or follow-up to treatment can make a real difference in participants' outlook and healing, as demonstrated by women's writings in the recently published anthology, Truth: Voices of Women Changed by Cancer. In this Medical Center Hour, Whistle Words' co-founder Charlotte Matthews and UVA nurse/breast cancer survivor/workshop participant Susan Goins-Eplee introduce Whistle Words and explore the healing power of writing. A John F. Anderson Memorial Lecture
- Date:
- 2019-01-23
- Main contributors:
- University of Virginia. School of Medicine
- Summary:
- January 23, 2019 Joe Richman Since 1996, the Radio Diaries project has been giving people audio recorders and working with them to report on their own lives and histories. Collaborating with teens and octogenarians, persons with chronic and terminal illness, prisoners and prison guards, gospel preachers and bra saleswomen, the famous and the unknown, the project tells extraordinary stories of ordinary life. With stories aired on NPR, BBC, This American Life, and its own podcast, Radio Diaries has pioneered a new form of citizen journalism and, along the way, garnered every major award in broadcast journalism. This Medical Center Hour welcomes Radio Diaries’ founding director, Joe Richman, to share stories and draw parallels with health care practice, where, daily, clinicians traffic in the “extraordinary stories of ordinary life.” The Edward W. Hook Lecture in Medicine and the Arts / Medical Grand Rounds Co-presented with the Department of Medicine, UVA
