The second half of the twentieth century witnessed a pivotal shift from the industrial production of sound recording tools to the rise of new audio digital devices. This period therefore offers a wealth of opportunities for studying how technical inventions cause radical changes in creative practice. In this talk, I propose to reappraise several key moments and topics in the historiography of electroacoustic music from the new perspective through concepts developed in the field of mediology. According to Régis Debray, mediology can be defined as the study of the material mediations through the evolution of communication systems and the technologically transmitted interventions.
I use three core concepts of mediology to reconsider key moments and topics in the historiography of electroacoustic music. First, I apply Gilbert Simondon’s “process of concretization,” in which technology always moves towards its essence, to the divergent uses of tape recorder technology by composers, sound engineers, and sound designers. From Pierre Schaeffer’s closed grove and its corollaries, sprang reductive listening, a new form of music, and a new archetype for composing with loops, and later, samples. I suggest this brings to light a predetermined creative process that reduces the composer’s freedom. Second, I consider how “electronic writings” as theorized by Julien Auroux and Fabien Lévy grammatize streaming sound in the mixing and editing techniques native to the operation of the electroacoustic studio. This leads to a new way to listen to our daily acoustic environment. Finally, I warn that deterministic views should be qualified with more refined analyses of the specific and distinctly local constraints of historically situated tools. As an example, I consider the status of analog recording as a technology which continues to develop, the initial consequences of which only became apparent in the 1980s.
Vincent Tiffon is a professor of musicology at the University of Lille (France), researcher in the CEAC research center, and co-director of the EDESAC research team. He is also an associated researcher at IRCAM in Paris (France). Tiffon’s research addresses the history, analysis, and aesthetics of electroacoustic and mixed musics and takes special interest in analyzing the creative process in music and musical mediology. His work has been published in journals including Acoustic Arts & Artifacts/Technology, Aesthetics, Communication, Analyse musicale, Les Cahiers du Cirem, Les Cahiers de Médiologie, Contemporary Music Review, DEMéter, Filigrane, LIEN, Medium, Médiation et communication, Musurgia, NUNC, Revue de musicologie, SMC (Sound and Music Computing), and Circuit.
Harvey Thurmer is Associate Professor of Violin at Miami University, Ohio. He completed his training through Chesapeake Bay Alexander Studies, Greensboro, North Carolina in 2012, and since then has given workshops throughout the United States. Thurmer is actively involved in the promotion and recording of new music. He has worked with composers Gyorgy Kurtag, Bright Sheng, Chen Yi and Michael Colgrass. His recording of Kurtag’s Kafka Fragmente, with soprano Audrey Luna, available on the Ars Moderno label, represents the first recording of this monumental work by American artists. He has held a summer faculty position at the Sewanee Summer Music Festival in Sewanee, Tennessee, and performed nationally with fellow Sewanee faculty members Natasha Farny, cellist and Gary Hammond, piano who teach in New York. He is also a member of Miami 3, a newly formed faculty ensemble, with Michele Gingras, clarinet and Heather MacPhail, piano.
Through a personal and transpersonal archaeology of creative process, Ed Campion explores how digital tools have helped and hurt in the questioning, discovering, shaping, recombining and designing of new musical experiences. The Western traditions of written music, electro-acoustic music, improvised music, and research-based music all converge and hybridize within the digital tool space. Campion will demonstrate how a non-technical person from the pre-internet age has met the challenges and pitfalls of using and inventing digital tools to inspire and guide artistic outcomes.
The Pauline Chapel in the Basilica of Santa Maria Maggiore represents one of the more complex and significant ecclesiastical buildings in Counter-Reformation Rome. It was conceived as relic venue and built to underline and reassert Catholic doctrine in response to the reforming zeal of Protestantism The most important painting preserved in this Chapel is the Virgin of Saint Luke. According to tradition, it has legendary origins: drafted by the apostle Luke and completed by the angels. With the bull Immensae bonitas (1615) Pope Paul V asserted his belief in the Virgin’s strength as the merciful intercessor before Christ, an advocate for Christian souls, and an essential vehicle for salvation: all of these concepts are expressed in the text of the antiphon Salve Regina. The statutes of this Chapel were approved in 1615: The “Salve” services were committed to twelve musicians: ten singers, one organist and the chapel master. They sang litanies, antiphons, and the Compline for two choirs every Saturday night, at all feasts, and on the eves of Marian feasts. The earlier “Salve” music that has been preserved is that composed by Alessandro Melani (1639–1703), appointed director of the “Salve” from 1667 until his death. The music repertoire was written for two choirs and sung with one voice assigned to each part. The rhetorical scheme of the texts and their musical setting follows the ideological program of the bull issued by Pope Paul V. This music offers a systematic repertoire by a single composer for the most important Marian chapel of the Roman Counter-Reformation. The aim of this lecture is to underline the connections between Melani’s music and that religious and cultural context. I am convinced that this perspective of study, based on the intersection between visual art, architecture, liturgy, and music, represents an important way for achieve a broader knowledge of this complex cultural and religious message in Counter-Reformation Rome.
Luca Della Libera (b. 1961 in Milan) completed his music studies in Rome, Italy, where he graduated with a degree in in flute performance at the Conservatory of Santa Cecilia and in History of Music at the University La Sapienza, with Professor Pierluigi Petrobelli. Since 1998, Della Libera has been a tenured professor of History of Music at the Conservatory of Frosinone. From 1988 to 1991, he collaborated with IBIMUS (Istituto di Bibliografia Musicale) in the cataloguing of musical manuscripts in several Roman archives, such as Basilica di Santa Maria Maggiore, Basilica di San Giovanni in Laterano, and Biblioteca di Storia Moderna e contemporanea. His main field of research is music in Rome during the Baroque era, particularly sacred music, musical institutions, and archival studies. Della Libera has published articles in Nuova Rivista Musicale Italiana, Rivista italiana di musicologia, Recercare, Studi musicali, Acta Musicologica, and Analecta Musicologica. He published three volumes of critical editions of the sacred music of Alessandro Scarlatti for A-R Editions, and in 2014 a critical edition of the oratorio La Santissima Annunziata of Alessandro Scarlatti for the Istituto Italiano per la Storia della Musica. He also published several biographies for Dizionario Biografico degli Italiani and Musik in Geschichte und Gegenwart.
Della Libera collaborates for recording and performing projects with some of the most esteemed Italian performers in Baroque music: Rinaldo Alessandrini and Concerto Italiano, Fabio Biondi and Europa Galante, the violinist Enrico Gatti, and Paolo Da Col with the ensemble Odhecaton. In 2012 and 2013, he held workshops and seminars at the Conservatory of Frosinone and Musikhoschule Bremen in collaboration with the soprano Gemma Bertagnolli on the sacred music of Alessandro Scarlatti. In February 2015, he was invited by the Birmingham Conservatory for an ‘Erasmus’ teaching exchange.
Since 1997, Della Libera has been a musical critic for Il Messaggero, the most prominent newspaper in Rome. He received his PhD in musicology from the Università di Roma Tor Vergata in ‘co-tutelle’ with the Johannes Gutenberg University of Mainz. His dissertation, “La musica sacra romana di Alessandro Scarlatti: testi, contesti, documents,” was given the distinction Magna cum laude. In February 2013, he was invited to give papers and lectures at Princeton University and Harvard University. He collaborates also with several Italian music institutions: Accademia Nazionale di Santa Cecilia, Accademia Filarmonica Romana, Accademia Chigiana (Siena), Teatro San Carlo di Napoli, Festival delle Nazioni, and Centro della Pietà dei Turchini di Napoli.
God save the Queen
A fascist regime
They made you a moron
God save the Queen
She ain’t no human being
There is no future
And England’s dreaming.
From the halls of the British Library to popular music conferences, the Sex Pistols’ “God Save the Queen” (1977) is emblematic of the punk genre and used in the institutionalization and celebration of punk’s 40th birthday. Fifty-five years ago, the first thermonuclear device (the H-bomb) was detonated by the United States in the Marshall Islands. The explosion was one of sixty-seven that has irrevocably altered the now sovereign Pacific Island nation. Today, Marshallese sing powerful songs that refuse the western cooptation of their future. These songs are called al in keememej (concerted memory songs) because there is no future without memory. This talk asks us to listen to the politics of sound reproduction in the nuclear era. I explore the ways anthropology of the senses and musicological work offer insight into how the bomb reproduces discriminatory systems that render some bodies “insensible” like the radiation absorbed by them. I also share how Marshallese and marginalized populations use music to effectuate a “memory of the senses” (Seremetakis) that are embodied and taught to younger generations. I take American governmental sound design, popular music, punk music, and Marshallese legal “hearings” and al in keememej, not as separate genres, but rather a tense nuclear repertoire through which sonic contestations of nuclear power often play out. I suggest that these contestations are rarely heard because of a neoliberal capitalist system that nuclear weaponry founds and is founded by. This system, made global by U.S. militarism, employs the bomb (hard power) and culture industries (soft power) that dialectically resolve in unequal gendered and racialized spaces at the sensible margins.
Jessica Schwartz (UCLA) approaches musical representations and sonic histories of militarization and imperial violence, affective alliances, and creative dissent through historical, ethnographic, and theoretical methods. Her work dialogs with American studies, Pacific studies, environmental anthropology, and indigenous studies, and she has begun to collaborate on projects relating to musical activism, artistic expression, and climate change in the Pacific. Other research interests include issues of musical transcription and analysis, critical pedagogies, race, class, and gender in respect to popular music from the postwar onwards and subcultural genres, such as punk and hip-hop. In 2013, Professor Schwartz co-founded and continues to serve as Cultural Programs Advisor to the Marshallese Educational Initiative, Inc., a non-profit organization based in Arkansas that raises cultural awareness of and promotes educational opportunities for the Marshallese population. An active guitarist, she composes and performs experimental noise-based and punk music.
Learn to make your resume stand out from the crowd, and the use of keywords to describe your experience, skills, and qualifications. Resume samples for each major in the Arts Group will be provided. Registration is not required.
***This workshop will count toward the mandatory requirement for seniors.***
The relationship between UC Davis’s Barqoue Orchestra and Davis Senior High School provides a yearlong relationship of learning, exploration, and performance of Baroque and early classical orchestral music on instruments of those eras. Phebe Craig, Angelo Moreno (a UC Davis Music Alum), and Michael Sand are their directors.
Joy S. Shinkoskey was the mother of Deborah Pinkerton and mother-in-law to Bret Hewitt. They established an endowment to support noon concerts and musical performances in the UC Davis Department of Music.
Joy S. Shinkoskey (Pinkerton)
Mother of four children, including Deborah Pinkerton, Joy Shinkoskey was in her younger years a model and played the piano which is where she developed her love of music, playing Beethoven piano works in the Spokane Music Festival, 1940, and throughout her life.