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
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.
Ludomusicologists generally agree that cinema and television represent the nearest siblings to video games, and so therefore adopt many of the methodologies familiar to film music scholarship in their work—Claudia Gorbman’s influential concepts of diegetic and non-diegetic, for example, feature prominently in many accounts of game audio. Ludomusicologists generally also agree that the interactive nature of video games marks its primary distinction from other forms of multimedia, and so a fundamental point of entry into studying game audio is to examine how composers and sound designers create scores and soundtracks that can account for indeterminate player actions. For theorists, who may be most comfortable examining music that has been fixed into notation in the form of a musical score, indeterminacy raises additional questions and problems: how does one analyze music for which there is no single agreed-upon structure, and which may be realized in a fundamentally different way every time it is heard? In short, many theoretical methodologies are not readily equipped to analyze game audio; existing toolsets must be reworked and new toolsets devised to grapple with this Protean music. This presentation, then, turns a perhaps conventional question, “what can music theory teach us about game audio?” on its head, examining the uses of music in games such as Katamari Damacy, BIT.TRIP Runner, L.A. Noire, Super Mario Galaxy, The Legend of Zelda: Ocarina of Time, and Portal 2 to investigate what video games can teach us about music theory.
Steven Reale is Associate Professor of Music Theory at Youngstown State University in Youngstown, Ohio. Since completing his dissertation at the University of Michigan on Wagner’s Ring cycle, he has published and presented on calculus and metric dissonance and music and media, especially music in video games. He was a co-founder and the rst lead organizer of the North American Conference on Video Game Music, held at YSU in 2014, and which saw its fourth iteration earlier this year at the University of Texas at Austin. Reale recently published a two-part video series on the music from the Portal video game franchise with the Society for Music Theory’s peer-reviewed video journal, SMT-V, and received the UK Ludomusicology Research Group’s inaugural Award for Excellence in Game Audio Research for his presentation at the 2015 meeting of SMT, “A Musical Atlas of Hyrule: Video Games and Spatial Listening.”
UC Davis alumnus Kimberlee Uwate is the violist of the Delgani String Quartet and has performed with quartets in Lincoln Center, with orchestras in Carnegie Hall, with contemporary ensembles in the Chicago Cultural Center, and as a soloist at the Krannert Center for the Performing Arts in Illinois. Currently based in Oregon, Kimberlee plays an integral part in shaping the artistic and educational visions of the Delgani Quartet (a nonprofit organization) as both a core musician and a board member. She is also a member of the Eugene Symphony and on the string faculty at Willamette University. Following her studies at UC Davis, Uwate continued her training at Manhattan School of Music and the University of Illinois.
Free, no tickets necessary (a Shinkoskey Noon Concert)
Anton Webern’s Fünf Canons nach lateinischen Texten, op. 16, occupies the unique position of being the composer’s last work written in a ‘freely atonal’ style before permanently adopting the dodecaphonic method. The decision to set sacred Latin texts in the form of canons also carries with it a tempting, and to-date uninvestigated, link to Webern’s academic studies. Despite the critical location of this cycle in Webern’s œuvre, coupled with the fact that these songs were his only compositional output in over two years, there have been few attempts at an in-depth analysis. This paper aims to call attention to this severely overlooked work by investigating the possible influence of traditional polyphonic practices, particularly as they occur in relevant settings by Heinrich Isaac and Ludwig Senfl. In addition to observing these probable connections to Webern’s past, the collection will be examined on its own merit to demonstrate its role not as a mere transitional work, but as a substantial musical achievement that would unknowingly serve as a technical reservoir for his mature twelve-tone compositions. Finally, several of the topics examined in this analysis—including symmetry, compressed form, types of canonic imitation, and layered meaning—will also be explored in my dissertation piece, Miniatures/Glimpses, for string quartet.
Bryce Cannell is a PhD candidate in music composition and theory at the University of California, Davis. A native of Central California, Cannell received his Master and Bachelor of Arts degrees in music composition from California State University, Fresno. In 2015, Cannell was awarded a Margrit Mondavi Fellowship to travel to the Paul Sacher Foundation in Basel, Switzerland, to examine the surviving sketches of this work. As a composer, Cannell has been commissioned by the Impetus Percussion Quartet, the Orpheus Chamber Ensemble, and Oakland-based pianist Anne Rainwater. His music has been acknowledged with awards from the Society of Composers Inc., the National Association of Composers/USA, and the Institut für Musik der Carl von Ossietzky Universität Oldenburg.
The Jazz Bands of UC Davis will perform works that include Afro-Cuban classics and modern standards in an exciting evening of jazz music.
For this concert, the evening’s selections will include Michael Phillip Mossman arrangements of “A Night In Tunisia” and “Ran Kan Kan”, Thad Jones’ “Three and One,” Paul McKee’s “Alone Together,” and Slide Hampton’s “Got The Spirit”.
The Korean Percussion Ensemble explores the genres of samulnori and p’ungmul. Korean samulnori features the dynamic interplay of four percussion instruments known as changgo (hourglass drum), puk (barrel drum) ching (large gong), and kkwaenggwari (small gong). Samulnori draws its roots and rhythms from a much older musical tradition known as p’ungmul, which was associated with village rituals and agrarian life in Korea for many centuries. Much like Japanese taiko, Korean samulnori is now performed all around the world by professional and amateur ensembles.
If you’ve been thinking about getting a job or internship, now is the time to start! This workshop will provide valuable information on how to start your search for a job or internship. Registration is not required. arts.ucdavis.edu
***This workshop will count toward the mandatory requirement for seniors.***