Stepans grew up in northern part of East Bay — specifically the Kensington/El Cerrito/Albany area. “I have played horn since the fourth grade, but have only really started practicing it in the last four years,” he said. “Before that, I played football and wrestled in high school so there was no time to play horn in between sports and school.”
The second half of the program will feature Gustav Mahler’s “Das Lied von der Erde” (“The Song of the Earth”) as arranged by Arnold Schoenberg and Rainer Riehn. Mahler composed “Das Lied von der Erde” between 1907 and 1909, after a trio of personal disasters overtook him (the death of his eldest daughter from scarlet fever and diphtheria, his forced resignation from the Vienna Court Opera, and the diagnosis of a fatal heart condition). He described this as his most personal work, but he did not live long enough to hear it performed.
I originally came in as a double math and music major, but I realized that with the way each degree is structured, it would be difficult to finish both within four years. One of my professors, Dr. Kern Holoman, showed such passion and expertise in a beginning music history course that I realized I wanted to be a music major.
“It is scored for an extremely unusual orchestra: quintuple woodwinds (including a heckelphone, similar to a bass oboe), eight horns, six trumpets, five trombones (including a contrabass trombone, that we are borrowing from the San Francisco Symphony), two tubas, celesta, two harps and 14 percussionists — including a siren — plus orchestral strings.”
Those attending the 1893 World’s Columbian Exposition in Chicago could visit a faux Javanese village, sample tea and coffee from the Indonesian island, and hear music of the gamelan, a large percussion ensemble.
Exposure to this exotic culture produced a “javaphilia” – a fascination for the music and dance of Java. That long-lasting allure, and how the music had been transformed, could be seen nearly 100 years later at the 1986 First International Gamelan Festival at Expo ’86 in Toronto.
The Empyrean Ensemble — the professional group at UC Davis dedicated to performing new music — will give a concert titled “Young and Restless” at 7 pm, Sunday, April 26, in the Vanderhoef Studio Theatre at UC Davis.
Henry Spiller — a member of the music department faculty at UC Davis for 10 years — has a new book out, detailing “American love affairs with Javanese music and dance” through the stories of four North American artists.
Spiller and the UC Davis Gamelan Ensemble will be performing music that goes with the book’s theme on Friday as part of the “Musics of the World” concert in the Mondavi Center’s Vanderhoef Studio Theatre.
The study of ethnomusicology shows that music is more than just organized sound. By digging into the roots of various music styles, ethnomusicology uncovers social and historical meanings unique to its cultural context.
To support our campus’ own ethnomusicology program, the music department is putting on Musics of the World Ensembles of UC Davis, a showcase featuring four of the university’s world music groups. The performance will take place on Fri., April 24, at the Mondavi Center.
“We’re excited to get back to work,” said Larry Gardner, president of American Federation of Musicians Local 12, which represents the orchestra members. “Here, you’ve gone from no momentum to something. That’s good for us, and it’s good for the community.”
Friday, April 10, 2015, at 10:15 and 11:35 am, at the Community Center Theater, Sacramento. Sacramento Philharmonic musicians perform with soprano Carrie Hennessey and Sacramento-area elementary school students—part of the Link Up program sponsored by Carnegie Hall.
Two UC Davis ethnomusicology grad students—Gillian Irwin (first year) and Sarah Messbauer (ABD)—share this year’s Marnie Dilling Prize, presented by the Northern California Chapter of the Society for Ethnomusicology for the best graduate student presentations at its annual chapter meeting, which was held on February 28, 2015, at UC Berkeley.
In Saramago’s 2005 novel, death appears as a woman who falls in love with a cellist and is transformed by that love. It’s a perfect vehicle, Rohde says, for using music to convey the drama. “In this opera, music is the transformative force that turns death from this thing that doesn’t exist into a human being. It’s a very confusing process for her, and she has to do things that are increasingly human. For example, she’s never spoken—she never had to—and when she starts to speak, I make her stutter and gradually start to form words. The cellist character vocalizes as if he’s tuning up the instrument, then playing the Bach Suites.”
Rita Sahai was among ten Indian-American achievers to be honored by the National Federation of Indian American Associations (NFIA), at its 18th biennial convention, which was held March 6–8, 2015, in Cerritos, California. The award given to Sahai was in the category of Liberal and Fine Arts.
I find it tremendously gratifying that a young performer found her way to my collection. The story of women songwriters needs to be told in many ways, none of which is more important than bringing the songs to life through performance. A century ago, thousands of women wrote songs. It was “normal” for women to express themselves through music. For someone who is an undergraduate to have begun this journey of recovering these lost voices is very exciting.
Explore a variety of Broadway and film musicals through a show’s music, lyrics, choreography and staging. Discover how the musical both reflects and helps create social reality. Learn the different aspects of the creative process as manifested through music, dance, scenery, and acting. Study how the genre’s creators draw from a wide variety of musical traditions and discover how musicals reflect aspects of class, race, ethnicity, gender, sexuality, religion, political orientation, and social class.