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.
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.***
American tenor Brian Jagde has quickly emerged as one of the most engaging and exciting lyric tenors of his generation. Since his first Mondavi Center appearance (the 2013 Rising Stars of Opera concert), Jagde has gone on to sing at the Metropolitan Opera, Royal Opera House, Teatro San Carlo and the Lyric Opera of Chicago.
Lebanese-Canadian soprano Joyce El-Khoury is a graduate of the Metropolitan Opera’s Lindemann Young Artist Program and a first prize winner in many competitions including the prestigious Loren L. Zachary Competition.
Alumni and University Choruses | Jeffrey Thomas, conductor
UC Davis Symphony Orchestra | Christian Baldini, music director
Parry: Blest Pair of Sirens
Hubert Parry (1848–1918) is an oft-overlooked English composer of the Romantic era. Parry absorbed musical influence from both Johannes Brahms and Richard Wagner, and managed to filter a distinctly English style through these influences in Blest Pair of Sirens, a choral setting of John Milton’s At a solemn Musick. Through careful word painting, Parry musically highlights salient emotional moments of the poem. The result of pairing his stately and solemn musical setting with Milton’s heartfelt, triumphant poetry is the quintessential ode to heavenly ascension.
Brahms: Ein deutsches Requiem
with Mary Wilson, soprano, and Jesse Blumberg, baritone
Johannes Brahms (1833–97) composed the Requiem between 1865 and 1868, almost certainly in the wake of his mother’s death. As with the requiems of Mozart and Verdi, the Brahms Requiem is a sacred piece that stands on its own in concert. Brahms opted to use Luther’s German bible texts rather than Latin texts. Not only is the work a testament to Brahms’s sense of meticulous, creative craftsmanship—which is reflected, for example, in the first movement’s lack of violins—but it is also a testament to the notion that the living need comfort in the midst of the dead or dying.
McBeth: Of Sailors and Whales (Melville, Moby Dick)
Of Sailors and Whales musically depicts characters from the Herman Melville classic, Moby Dick. Each movement will be preceded by a brief reading from the book describing the character delivered by a concert band member.
Jazz at UC Davis swings with performances by the Blue, Gold and Vanguard Bands and guest artist trumpet player Steve Roach.
The Gold Band will play the classic music of the Count Basie Orchestra including “Fantail,” ”Whirly Bird,” ”Rompin at the Reno,” and “The Wiggle Walk.” A highlight of the evening will be Vanguard and Blue Bands playing selections from Kenny Wheelers “Sweet Time Suite,” an eight-movement work divided between the two ensembles. Roach will perform with all three bands.
An acclaimed performer and educator, Steve Roach has been the Director of Jazz Studies at Sacramento State since 2001. He has also served as Director of Jazz Studies at Baylor University and has held teaching positions at the University of Northern Colorado and Northern Illinois University. He holds a Bachelor of Music degree in trumpet performance from Indiana University, a Master of Music degree in trumpet performance from Northern Illinois University, and a Doctor of Arts degree in trumpet and jazz pedagogy from the University of Northern Colorado.
As a professional, Roach has appeared as an assisting artist include studio and live sessions with such jazz and pop musicians as Tito Puente, Dave Pietro, Louis Bellson, Billy Drummond, Alan Ferber, Conrad Herwig, Lou Rawls, Jon Tchicai, Ben Vereen, Melissa Manchester, Toni Tennille, Roberta Flack, Rosemary Clooney, Jeffrey Osbourne, Carl Fontana, Paquito D’Rivera, The Smithsonian Jazz Masterworks Orchestra, The Glenn Miller and Jimmy Dorsey Orchestras, and others. He maintains an active schedule as a freelance artist and is a member of the Sacramento Jazz Orchestra, a group in which he co-founded.
Selections from Tomás Luis de Victoria’s Requiem along with other works by Thomas Weelkes, Thomas Morley, Henry Purcell, and Francisco Lopez Capillas.
With a focus on vocal repertoire from the Early Baroque, the Renaissance, and the Modern, the versatile Early and Modern 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.
Vincent Tiffon is Professor of Musicology at the University of Lille, a researcher at CEAC (Center for the Study of Contemporary Arts), co-founder and co-leader of the EDESAC team. He also is an associate researcher in the APM team (IRCAM-CNRS-UPMC) in Paris.
A specialist in history, the analysis of creative processes and the aesthetics of electroacoustic and mixed music, he also developed works on musical mediation (study of the interactions between technical innovations and musical inventions). Since 2008, his work has focused on the analysis of compositional processes (mixed music).
His writings are published in AAA / TAC (Acoustic Arts & Artifacts / Technology, Aesthetics, Communication), Music Analysis, Les Cahiers du Cirem, Les Cahiers de Médiologie, Contemporary Music Review, DEMeter, Filigree, LINK, Mediation and Communication, Musurgia, NUNC, La Revue de Musicologie, SMC2011, as well as in several collected works.
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.