The UC Davis Symphony Orchestra was founded in 1959, and has since established itself as a major campus and community arts offering. The UC Davis Symphony has toured California, Canada, and Australia and French Polynesia.In June 2003 the orchestra traveled to France to participate in the Berlioz bicentenary over the course of a series of five concerts.It regularly serves as the pit orchestra for UCD Mainstage productions and appears at major campus events and ceremonies, including Fall Convocation and Commencements.The UC Davis Symphony is a principal resident ensemble at the
The UC Davis Composition Workshop is now accepting applications for Composer Fellows. The Workshop is an integral part of a music festival, which is a collaboration between the Robert and Margrit Mondavi Center for the Performing Arts, the UC Davis Department of Music, and the St. Louis Symphony.
Want to find the weak spots in your jury piece? Trying out a new interpretation? There is a new opportunity for music majors to perform and to receive feedback in an informal setting. Twice a quarter, on the third Friday of the month, the music department will host a performance workshop, or salon. Sign-up three weeks prior to the salon.
The word gamelan is used in a similar way to our word orchestra. It refers to the Indonesian gong-chime ensembles of Java, Bali, and Sunda. This concert features music from the Central Javanese repertoire, collectively called karawitan, that has developed over centuries in the royal courts of Surakarta and Yogyakarta. Karawitan is still a living tradition in Java, modified and transformed by those who play it.
Free, no tickets necessary (a Shinkoskey Noon Concert)
“Sonic Arts” incorporate live, recorded, and found sounds to create multidimensional stories. Here is an article about this performance.
Marc Del Fava: Buchla
In the Grace and Grant Noda Lobby, undergraduate student Marc Del Fava will demonstrate four-channel audio on the Buchla 200, a modular synthesizer created by Don Buchla in 1970, and is pictured with Cinema and Digital Media Professor Bob Ostertag.
David Avis: Improvisations on Presence
David Avis is an undergraduate composer from Sacramento. His Improvisations on Presence is a free improvisation of material deriving mostly from a recording he previously released called Presence (they are the same synthesizer patches). This piece features David playing and controlling sound environments in Madrona Labs’ digital modular synthesizer Aalto with a Nintendo GameCube controller. This project stems from studying analog synthesis with Bob Ostertag and Max/MSP with Sam Nichols, whom he could not thank more. It is his aim to combine the nostalgia David associates with that particular gaming controller with the intuitive and powerful synthesis control seen and heard in Ostertag’s work. David’s approach, however, is focused on allowing these constantly morphing shapes to direct the music as much as the performer. With this emphasis on non-attachment, these precarious environments teeter between peaceful stasis and utter chaos. It is along this line that David’s music attempts to walk, constantly edging closer to and flirting with processes of which he may or may not lose control.
Ostertag performs Wish You Were Here on an Aalto virtual modular synthesizer, which is software created by Randy Jones at Madrona Labs, and is controlled by a standard gamepad. Ostertag says he feels like he has “finally found a way to play a modular synthesizer in a manner both musical and constantly surprising” which he first dreamt of doing more than forty years ago. The juxtaposition of this music, and his video-game music piece, titled w00t, in the Pitzer Center’s recital hall is on purpose as a formal acoustic concert space for synthesized music is sure to be unexpected. w00t contains fragments of music and effects from video games from Balloon Fight to Halo: Combat Evolved to World of Warcraft, as well as many others. w00t originated as a live soundtrack for Pierre Hébert’s live film that addressed the Israeli invasion of Lebanon in 2006.
Graduate composition student Phil Acimovic—also the current director of the department’s Indonesian gamelan ensemble—wrote a piece for the concert titled Speaking of Sound, in which the audience experiences the piece by actively walking throughout the backstage area of the Pitzer Center. As they move, they experience ambient sounds—such as frogs, crickets, wind, trains—which parallel recorded (spoken) memories. As the audience proceeds, the memories become heavier in an emotional sense. The concept, Acimovic says, is to construct an environment where we purposely think about how we experience and remember sounds.
One of the biggest methodological challenges in writing the history of paracolonial soundworlds before the era of recorded sound is developing an ear for where sound might linger within and across radically differing archives. This challenge is compounded when one is seeking to connect archives that are multilingual, embodying multiple lineages of knowledge, and interregional, in this case dealing with the diverse cultural geographies of the eastern Indian Ocean c.1750–1900. The texture of the official colonial records of, say, the India Office in London is utterly distinct from those of the hundreds of rich treatises on Hindustani music from this era in India’s classical and vernacular languages, which themselves embody diverse genealogies of musical thought. But in the Malay world for the same period, under the same colonial rulers, there were no written works dedicated to music at all; instead, one must trawl the entire gamut of Malay and other regional literatures for sonic references, and think laterally about how to trace audibility and performativity in language itself.
How can we use these differing colonial and paracolonial archives, and the idiosyncratic methods required to mine each one, to write cohesive, connected histories of music and sound in the eastern Indian Ocean—especially when the ephemeral object of our attention has long passed into silence? In this paper I will document the challenges and advantages of bringing varigated archives together—from both sides of the Bay of Bengal, and from colonial records and private papers to the manuscript and print cultures of the colonised—to produce an unprecedentedly stereophonic understanding of Hindustani soundworlds in the Indian Ocean c. 1760–1860. In so doing I aim to present one solution to the question of how we write histories of music and sound that take ethnomusicological method seriously.
Katherine Butler Schofield (King’s College, London) is a cultural historian and ethnomusicologist whose work focuses on South Asia. She trained as a viola player before embarking on postgraduate studies at SOAS in North Indian music, followed by a research fellowship at Corpus Christi College, Cambridge, and a lectureship at Leeds.
An internship is a great opportunity to learn about career opportunities and develop work skills. Paid or unpaid internships offer an opportunity to gain valuable work experience, and define career paths. This workshop will provide ideas of how to find internships, and you will learn of internship opportunities for majors in the Arts Group.
***This workshop will count toward the mandatory requirement for seniors.***