SEAMUS

Society for Electro-Acoustic Music in the United States

  • News
    • SEAMUS Journal 29-1-2 Released
    • Suzanne Ciani [SEAMUS Award 2023] acceptance speech excerpt
    • CIME – ICEM 2023 and HELMCA Electroacoustic Music Days 2023
  • Conferences
    • SEAMUS 2024 National Conference – Call for Works
    • Conference Submission Webinars
    • Past Conferences
      • Most Recent Past Conference
      • 2023 Conference, April 7 – 8, NYC
    • Future Hosts Interest Form
      • How to Host a Conference
  • Opportunities
    • SEAMUS/SWEETWATER STUDENT COMPOSER COMMISSIONING PROGRAM
      • FAQ
      • Previous Student Award Recipients
    • Allen Strange Memorial Award
    • CREATE grants
    • SEAMUS Award
  • SEAMUS Publications
    • Journal SEAMUS
    • Member Newsletter
  • For Members
    • Music from SEAMUS
    • 2023 Conference Video Archive
      • List of Pieces and Composers [2023 Conference, by concert]
    • Electroacoustic Miniatures Series Downloads
    • Member Directory
      • Edit Profile
    • Membership FAQs
    • Facebook Page
  • Programs and Projects
    • Mentor – Mentee Program
    • Electroacoustic Database Repertoire (project in progress)
  • About
    • History
    • Officers and Staff
      • Past Presidents
    • Why Join?
    • Inclusion and Diversity
    • Bylaws
    • Board Meeting Minutes, Archive
    • Sponsors

Behind the Back

2016-07-09

Work for pipa (traditional Chinese lute) and electronics (triggered fixed media and some live processing). Commissioned by The Little Giant Chinese Chamber Orchestra for Su Yun-Han.

Composer: Timothy Roy

Year of Composition: 2016
Instrumentation: pipa and electronics
Type of Electronics: Fixed

Number of Channels: 2
Duration: 13'
Video Component: None

Recording

The musical inspiration for this piece comes from my fascination with the murals of the Mogao Caves in Dunhuang, China. The artwork famously depicts musicians performing while dancing and flying though the air. One image – that of a woman playing pipa behind her back – is so iconic that many Chinese dancers train in order to recreate her graceful pose. Behind the Back alludes to the ceremonial atmosphere of the Mogao murals while imagining the sort of music provided by the acrobatic women depicted within – a music which incorporates passages suggestive of dance and aerial maneuvers. At all times, the virtuosity and lyricism of the pipa is the focal point.

Login to SEAMUS

Join Us!

Membership in SEAMUS is open to all interested parties and brings lots of exciting benefits. Click the button below to join. Click here to renew your membership.
Join Now!

Connect with SEAMUS

  • Email
  • Facebook

© 2023 SEAMUS, All Rights Reserved · Site Design by Punkt Digital · Policy Statements

  • Contact Us
  • Board Officers & Staff
  • Policy Statements