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
Kurt Rohde, music professor, is one of 16 artists to receive an American Academy of Arts and Letters music award for 2015. He is one of four composers who will each receive a $10,000 award for outstanding accomplishments and $10,000 toward recording one of their works.
Over the last several years I have composed cross-cultural works for Western and traditional Asian instruments, collaborating with various musicians, dancers and filmmakers in Asia, USA and Europe. The idea of ‘living composition’ is to explore solutions to problems of cross-cultural esthetics and musical elements, as well as to redefine the role of the modern composer in the multicultural society of the twenty-first century.
Described by Sergio Assad as “the most inventive and exciting young guitar ensemble today,” Mobius Trio has made it its mission to fully integrate the classical guitar into the 21st-century’s nascent musical lexicon. The trio exclusively performs music that they have commissioned; they seek to expand the guitar ensemble’s repertoire to encompass all of the myriad currents passing through contemporary art music. Mobius Trio has commissioned over three dozen composers in their first few years of existence, and that pace isn’t slowing. Recent commissions include works by Sergio Assad, Luciano Chessa, and Ryan Brown.
In this presentation, I discuss postwar Japanese diva Misora Hibari (1937–89) and her voice and image as public positioning, addressing issues of modernity framed within that mediated space. I ask, what did this version of modernity sound like? What did it represent? How did Hibari help define the era for which she was mourned? How did the very transgressiveness of the era— embodied and sounded through Hibari—characterize the modernity of which it was a part? Indeed, Hibari was not only the Queen of Enka, but also, I argue, the Queen of Tears, setting her divahood in motion directly through the range of emotions spectacularized on stage.