Painting by Jerome Powers Materials: Horse hair, glue, and red acrylic paint Music: Shanna Pranaitis Musical Materials: Cheddar the cat purrs processed, contrabass flute, alto flute, c flute, piccolo, chapter titles from More Time to Think by Nancy Kline Created during FX Sonic Immersion 2021

Shanna Pranaitis – flute, alto flute AFE 2025 Flute Convention in Madrid performance, May 2, 2025 Through sound, breath, and silence, this program invites you on an inner journey through the landscapes of the heart—its grief, its fierce compassion, and its infinite radiance. It is a ritual of listening inward—an invitation to feel deeply, to hope, and to remember the sacred pulse that connects all our hearts. Let us listen together—to the heart, to the silence, and to what lies beyond. This program was inspired by the poetry of Palestinian-Syrian poet Dima Yousef. Her untitled poem, incorporated into Songish, was the initial inspiration for the two world premieres that follow: My heart Is A God (text score) and outSide [sPac3 T1mE] (graphic score, a painting). [All three pieces flow continuously, forming one unbroken journey] Songish (2016) for solo alto flute  by Wiek Hijmans  Featuring: poem Untitled by Dima Yousef Raghis If My Heart Was A God (2025) for solo flute by Jane Rigler & Shanna Pranaitis World premiere outSide [sPac3 T1mE] (2025) for wind instrument by The Honourable Elizabeth A. Baker World premiere Link to full program texts for each piece: https://docs.google.com/document/d/1Phi6c3OEhMaHbL6ql4hh_Ha0RZVIFiiz6j3FepeHPIY/edit?usp=sharing Performed on Kingma open-hole alto flute, Kingma-Abell grenadilla/cocus flute with Kingma system

Dreaming in its shadow – Jane Rigler (0:00) Shadow Play – Fredrick Gifford (7:22) Chimera's Garden – Lisa Coons, World Premiere (17:06-end) (archival recording from SEAMUS conference March 30, 2022) Seamless half concert featuring works that explore our internal worlds – dreams and our perceptions, shadows of memories and realities, and the process of becoming ourselves on our own terms. This concert goes beyond the borders of a typical concert presentation to include the audience in a more immersive experience, with ideally multiple screens/walls of projections, and movement in and among the audience (not feasible for this specific location/event). Note: It is possible to do less with the immersive/technical lighting elements if necessary. The concert experience can be adapted to suit most spaces. More info, please email Shanna (shanna@shannapranaitis.com)

Archival recording from SEAMUS opening concert, March 30, 2022 The Balinese word associated with shadow puppets, wayang, is difficult to translate, but hints at the idea that all art is a shadow of life. Shadow Play is built around two concepts: the dramatic structure of ancient shadow plays, and sounds from Dante Alighieri’s Inferno. Shadow plays often create situations revolving around a few words and the misunderstandings or changes in meaning that occur as different characters utter them. Here, the words are taken from Dante by sampling the Inferno for cantos containing the word ombra – shadow (the cantos are provided in full below). The bass flute and electronics are both actors and shadows in this play: their “words” at once generate the surface and stand behind all the sounds in this mobile. Fredrick Gifford is an American composer of open music. His works have been performed by International Contemporary Ensemble, Kairos Quartett, Ensemble dal Niente, Quince Contemporary Vocal Ensemble, Spektral Quartet; and programmed at festivals including, TIME:SPANS, Resonant Bodies, Bludenzer Tage zeitgemäßer Musik, Festival Internacional de Música Contemporánea (Mexico), Darmstadt Ferienkurse, soundSCAPE (Italy), ANODE, Aspen Music Festival and Ear Taxi; and recorded by Numérica (2012), Hasco Duo (2014), Mabel Kwan (2015) and Ben Melsky (2019). Gifford is also active as a musical producer and educator; he has taught at schools including DePaul and Northwestern Universities (USA) and ESMAE (Portugal).

Dreaming in its Shadow (2016) – Jane Rigler for moving piccoloist and fixed audio Archival recording form SEAMUS opening concert, March 30, 2022 "To dwellers in a wood almost every species of tree has its voice as well as its feature. At the passing of the breeze the fir-trees sob and moan no less distinctly than they rock; the holly whistles as it battles with itself; the ash hisses amid its quiverings; the beech rustles while its flat boughs rise and fall..." Thomas Hardy, Under the Greenwood Tree Inspired by the collaboration with the commissioning flutist, this work incorporates elements from Franz Schubert’s ""Der Lindenbaum"", Deep Listening© movement practices and acoustic-ecology-inspired field recordings. The piccolo player must follow a series of choreographic steps and movements that correspond to the sounds and patterns of the fingerings as well as to the ways trees and forests are formed. This work invites the player to become part of the pre-recorded sounds and to inhabit the space in a way that embodies and sonifies the performer’s mythical transformation from human to tree. The work is designed to elicit memory, dreamtime and imagination to bring us closer to the elements of what make up the material of the instrument being played, and to remind of us of our dear old friends, trees. Jane Rigler began her specialty in contemporary flute performance at Northwestern University where she received her Bachelors in 1988. She developed her work further at University of California, San Diego where she received her Masters and Ph.D in the mid-90s. She studied in Paris, and performed in Darmstadt as well as other new music festivals. Her international career performing edgy, complicated compositions as well as becoming a professional improviser started while living in Spain between 1994-2003. In New York (2003-2009) she performed with established contemporary ensembles and to this day is a featured soloist in many international electronic music festivals and with various ensembles. Her compositions play with hidden languages, recall ancestral songs, incorporate game techniques and invite all to imagine and improvise. As a certified Deep Listening® facilitator, she designs inclusive listening experiences for all people and thrives at artist residencies like Civitella Ranieri, Montalvo, Ucross, Hambidge, and Harvestworks that promote her collaborative nature. During her US-Japan Friendship Creative Artist Fellowship, Jane performed over twenty concerts in Japan between 2009-2013. In 2016 she toured in Italy, France, Germany, Finland and Spain offering workshops and concerts with a NewMusic USA grant. Jane was awarded a Teaching/Scholar Fulbright in Ireland, where she taught Experimental Music and Deep Listening at University College Cork, and studied Irish (Gaeilge), Sean-nós and learned the ancient Ogham scripts for a series of new compositions based on the stones, ancient trees and landscapes. An Associate Professor at the University of Colorado (UCCS) in the Visual and Performing Arts Department, she teaches Deep Listening®, Sound Art, Intro to Computer Music, Creative Music Ensemble, Flute, Composition, Improvisation and Humanities courses that integrate listening with various disciplines fields. She is an affiliate faculty with the Lyda Hill Institute for Human Resilience where she is focusing on expanding her Deep Listening© research and community work.

Chimera’s Garden by Lisa Renée Coons World Premiere SEAMUS Opening Concert, March 30, 2022 Chimera’s Garden is the newest in a series of works I call ‘narrative environment scores,’ and it was created collaboratively with Shanna Pranaitis. Narrative environment scores are born of a desire to establish a shared aural-visual world for the listener and performer that evolves temporally. The original physical score combined watercolor, ink, and found objects to convey the connections between the protagonist and the natural world. That document was then translated to video and fixed media, to act as both the object that the performer reads/responds to, and the context in which the audience experiences the performance. The protagonist of the piece is never at home with others, always at odds with her surroundings, until she loses herself in the cultivation of her garden. She is eventually both fulfilled and subsumed by her remote sanctuary, as her body transforms through obsession. Text She was forged of aberrant pieces A patchwork of violence and noise The seams yawned fragile at night Raw, as she prowled and worried and keened A carver came to smooth the flaws sculpting them in metal and glass She grew brittle and still: a mirror without breath But when she arched to view her illusions Her joints shattered at every bow A tailor tried to dress the wounds, to veil a fractured plain But her threads unraveled, more frail when touched, Spiraling out on currents: Contrails and clouds lacing her wake Her filament rooted in bedrock, Stone seeped up through her rifts She rounded and slowed: a monument overgrown weeping dew into the soil Silver forests erupted, gnarled and broad Obsidian blooms filled clefts and boughs And silk orchids burst from the carpet moss cyclones of light held in translucent seeds Young vines cleaved the ancient husk and she emerged on mantis legs, Glass wings clasping over jeweled green scales She pried the tempests from their shells And cradling the small storms to her breast Sung softly, tending her lucent garden Lisa Renée Coons is a composer and sound artist with a special affinity to noise composition, collaboration, and experimentation. She is dedicated to progressive art and focuses on partnerships with other artists and musicians as a means of developing innovative new works. Presently an Associate Professor of music composition at Western Michigan University, Lisa Renée received her PhD in Composition from Princeton University, her Master’s from SUNY Stony Brook and studied at the University of Missouri-Kansas City during her undergraduate degree. Before joining WMU she was a Jackie McLean Fellow and visiting professor at the Hartt School in the University of Hartford. Her portfolio includes music for acoustic and electronic instruments, turntables, traditional ensembles, and her own welded sounding sculptures. Recent commissions include an evening-length work for The International Contemporary Ensemble (ICE) and pieces for The American Composers Orchestra, The California E.A.R. Unit, Iktus Percussion Quartet, Dither Electric Guitar Quartet, the Machine Project for the Hammer Museum of Los Angeles, and the Violin Futura Project. She has received awards and support from the Other Minds Festival (a 2011 Composer Fellowship), the MAP Fund, ASCAP (Morton Gould Young Composer Award 2005/Honorable Mention 2009), and Meet the Composer, among others. Lisa Renée is a founding member of the bicoastal composers collective called, simply, The Collected.

Tribute to Eva Kingma from Bickford and Laura Brannen created in honor of Eva's 2018 Lifetime Achievement Award from the National Flute Association at the Orlando convention (9-12 Aug, 2018). Filmed in Southwick, MA at the home of Bick and Laura Brannen. Creadted and Produced by Shanna Pranaitis (Gutierrez)

Shanna Pranaitis, flutes Seth Parker Woods, cello Chicago Ustvolskaya Festival October 5-7, 2017 University of Chicago, Logan Center for the Performing Arts