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”.
Expanding on the tradition of the Art Studio program’s annual show, this exhibition highlights the dynamic nature of UC Davis’ graduate programs in the arts and humanities. “from this point forward” features 28 graduate students from seven departments including Art History, Art Studio, Creative Writing, Design, History, Music, and Theater and Dance, are featured in this unique multi-disciplinary exhibition.
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.***
UC Davis Symphony Orchestra
Christian Baldini, music director and conductor
Mozart: Allegro aperto from the Violin Concerto No. 5 (“The Turkish”)
with Jane Park, violin Winner of the 2017 Concerto Competition
Edgard Varèse (1883–1965) explored the limits and functions of timbre in his avant-garde compositions. His compositional narratives often were composed of sound masses (deliberately orchestrated groups of timbres) that interact with each other, skirting, grazing each other, or colliding violently. Rhythmic complexity, extreme dynamic range, and unbridled timbral variety render his pieces unpredictable portraits of life’s inherent entropy.
Brahms: Symphony No. 3 in F Major
Johannes Brahms’s Third Symphony may be his shortest and most compact of his four symphonies, but still encapsulates his effortless-sounding compositional style. The simple opening motive governs the musical material of the first movement. Brahms’s ability to spin music out of the simplest of materials is the impetus for the musical progression of this symphony, which can be heard and felt in the inner movements. The finale begins with a mysterious melody, with woodwinds and strings weaving in and out of each other, culminating into a hushed and yet focused conclusion.
An eclectic celebration of choral music including music from Josquin to the present day, including—
J.S Bach:Lobet den Herrn
Chris Castro:Drinking Song
With a focus on vocal repertoire from the Early Baroque, the Renaissance, and the Modern, the versatile Early Music Ensemble strives for cogent performance excellence in vocal music across this vast temporal span. The group frequently collaborates with composition faculty and department ensembles, from the Percussion Studio to the Baroque Ensemble.
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.