{"version":"1.0","provider_name":"New Music USA","provider_url":"https:\/\/newmusicusa.org","author_name":"Frank J. Oteri","author_url":"https:\/\/newmusicusa.org\/nmbx\/author\/fjo\/","title":"Sarah Hennies: Getting at the Heart of a Sound - New Music USA","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"8L7jTVDI8r\"><a href=\"https:\/\/newmusicusa.org\/nmbx\/sarah-hennies-getting-at-the-heart-of-a-sound\/\">Sarah Hennies: Getting at the Heart of a Sound<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/newmusicusa.org\/nmbx\/sarah-hennies-getting-at-the-heart-of-a-sound\/embed\/#?secret=8L7jTVDI8r\" width=\"600\" height=\"338\" title=\"&#8220;Sarah Hennies: Getting at the Heart of a Sound&#8221; &#8212; New Music USA\" data-secret=\"8L7jTVDI8r\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script type=\"text\/javascript\">\n\/* <![CDATA[ *\/\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/* ]]> *\/\n<\/script>\n","thumbnail_url":"https:\/\/newmusicusa.org\/wp-content\/uploads\/2022\/03\/Web-Header-Sarah-Hennies.png","thumbnail_width":1920,"thumbnail_height":1080,"description":"How we perceive sound on a psychological level as it unfolds over time is key to the sonic experiences that Sarah Hennies creates. Despite the extremely broad stylistic range of her output, everything from her early collaborative work as part of an experimental rock band to a multimedia documentary to extended duration solo and chamber music compositions for various instrumental combinations, it all shares a concern for extremely precise sonic gestures and involves a great deal of repetition. While Sarah Hennies prides herself on scores that are extremely economical (a score for a nearly 34-minute piece is a mere two pages), the sonorities feel extremely generous."}