james dever junior recital / senior recital commentary citations

2 files changed, 20 insertions, 10 deletions

diff --git a/album/junior-recital.yaml b/album/junior-recital.yaml
index 0d7298ba..3f3e78e4 100644
--- a/album/junior-recital.yaml
+++ b/album/junior-recital.yaml
@@ -20,7 +20,8 @@ Contributors:
 - Cara Givan (percussion)
 - Tyler Vandermeer (percussion)
 Commentary: |-
-    <i>James Dever:</i>
+    <i>James Dever:</i> ([SoundCloud description](https://soundcloud.com/jamesdevermusic/raucousy))
+
     Raucousy was written in 2014 and premiered at the University of Northern Colorado in April of 2015 by the Majority Percussion quartet: Mario Alvarado, Joe Darpino, Cara Givan, and Tyler Vandermeer.
 
     Born from a very common phrase from our dear professor, Gray Barrier (who himself learned it from Cloyd Duff), Raucousy is about bringing the edge out with percussion, which wasn't much of a challenge. The challenge comes from adapting from various different styles.
@@ -34,7 +35,8 @@ Duration: '7:32'
 URLs:
 - https://soundcloud.com/jamesdevermusic/reisher-fanfare
 Commentary: |-
-    <i>James Dever:</i>
+    <i>James Dever:</i> ([SoundCloud description](https://soundcloud.com/jamesdevermusic/reisher-fanfare))
+
     The Reisher Fanfare was composed in late 2014 and early 2015. It was premiered at the University of Northern Colorado in April of 2015.
 
     Written as a thank you for the generous three years of funding I received through the Reisher Scholarship at UNC, the Reisher Fanfare came to be after the passing of Roger Reisher in 2014.
@@ -46,7 +48,8 @@ Duration: '11:14'
 URLs:
 - https://soundcloud.com/jamesdevermusic/intimate-strangers
 Commentary: |-
-    <i>James Dever:</i>
+    <i>James Dever:</i> ([SoundCloud description](https://soundcloud.com/jamesdevermusic/intimate-strangers))
+
     Intimate Strangers was written in the Spring of 2014 and premiered in May of 2014, performed by James Dever.
 
     The piece is written for a large multi-percussion set up featuring a vibraphone facing away from the performer, scratched tambourine, a wine bottle, bass drum edges, and various other standard percussion instruments.
diff --git a/album/senior-recital.yaml b/album/senior-recital.yaml
index 7f598b4f..266cf258 100644
--- a/album/senior-recital.yaml
+++ b/album/senior-recital.yaml
@@ -14,7 +14,8 @@ Groups:
 - James Dever
 - Beyond
 Commentary: |-
-    <i>Jebb:</i> (Wiki editor)
+    <i>Jebb:</i> (wiki editor)
+
     Cover art for this set was taken by James Dever from [[track:sand-molding]].
 ---
 Track: The Fall
@@ -23,7 +24,8 @@ Duration: '4:42'
 URLs:
 - https://soundcloud.com/jamesdevermusic/the-fall
 Commentary: |-
-    <i>James Dever:</i>
+    <i>James Dever:</i> ([SoundCloud description](https://soundcloud.com/jamesdevermusic/the-fall), excerpt)
+
     Written in 2014, The Fall only recently was premiered in April of 2016.
 
     The Fall is written for a women's choir in four parts (divisi, eight lines) and utilizes and old Scottish Gaelic poem.
@@ -46,7 +48,8 @@ Duration: '7:29'
 URLs:
 - https://soundcloud.com/jamesdevermusic/soliloquy
 Commentary: |-
-    <i>James Dever:</i>
+    <i>James Dever:</i> ([SoundCloud description](https://soundcloud.com/jamesdevermusic/soliloquy))
+
     Soliloquy was written for solo viola and electronics in the Spring of 2015. It was premiered on viola at the call for scores winners concert at the 2016 Open Space Festival of New Music in Greeley, CO. It is dedicated to my good friend Abi Evans and all of her help in creating it.
 
     For this performance, it was adapted for cello and electronics and performed by Brett Andrews. Both versions are available.
@@ -62,7 +65,8 @@ Contributors:
 - Jeff Perry (performance)
 - Breana Meyers (performance)
 Commentary: |-
-    <i>James Dever:</i>
+    <i>James Dever:</i> ([SoundCloud description](https://soundcloud.com/jamesdevermusic/sand-molding))
+
     Sand Molding was composed in late 2015 and premiered at the University of Northern Colorado in April of 2016. The premiere performance was by Jeff Perry and Breana Meyers.
 
     Sand Molding explores the process of, well, using sand to mold iron and steel. Throughout the composition, the sounds of metal overtake the sounds of wood as the natural becomes the artificial.
@@ -76,7 +80,8 @@ URLs:
 Contributors:
 - Jordan Ortman (performance)
 Commentary: |-
-    <i>James Dever:</i>
+    <i>James Dever:</i> ([SoundCloud description](https://soundcloud.com/jamesdevermusic/toward-eternity))
+
     Toward Eternity was composed in the fall of 2015 and is dedicated to the memory of Dr. Dale Dykins, who taught at the University of Northern Colorado for over thirty years. The piece was premiered in November of 2015 at the Currier Inn in Greeley, CO by Jordan Ortman. This recording is from April of 2016, Jordan Ortman.
     
     Toward Eternity is a journey through death. Inspired by Emily Dickinson's famous poem Because I could not stop for Death. The piece goes through the emotions of acceptance of death from the departed. From the fear of the unknown, to the nostalgic pull of past memories, finally to acceptance.
@@ -88,7 +93,8 @@ URLs:
 Contributors:
 - Breana Meyers (performance)
 Commentary: |-
-    <i>James Dever:</i>
+    <i>James Dever:</i> ([SoundCloud description](https://soundcloud.com/jamesdevermusic/unrequited))
+
     unrequited was composed in the latter half of 2015 under a different name. It is for solo five octave marimba and is the first of two planned movements.
 
     The premiere of the work was performed at the University of Northern Colorado in April of 2016 by Breana Meyers.
@@ -104,7 +110,8 @@ Contributors:
 - Joe Darpino (narration)
 - Cathy Verbyla (narration)
 Commentary: |-
-    <i>James Dever:</i>
+    <i>James Dever:</i> ([SoundCloud description](https://soundcloud.com/jamesdevermusic/new-irish-stew))
+
     New Irish Stew is a graphic score written in early 2016 and premiered in April of the same year. The piece is written for three indeterminate musicians and two narrators.
 
     The score is written in a literal circle with no beginning or ending given. It is up to the performers to decide where to start, when to end, what tempo, and if they wish, when to improvise.