abhiman kaushal and rahul neuman, co-directors 7 p.m. · directed by abhiman kaushal and rahul...
TRANSCRIPT
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Program
Raga by the UCLA Sitar and Tabla Ensembles
directed by Abhiman Kaushal and Rahul Neuman
Presentation of raga (melodic piece) and taala(rhythm cycle) by students in the Indian music ensembles on sitar and tabla. � e performance
will begin with a brief alap (introduction of raga), followed by gats (compositions) in raga Bageshree.
� e taal will be teen taal (16 beat cycle). � e performance will also include individual and group
solos on both instruments.
Music of India EnsembleAbhiman Kaushal and
Rahul Neuman, co-directors
A performance by the Music of the Balkans Ensemble follows a fi fteen-minute intermission 1
May 1320167 p.m.
Tabla Ensemble:
Pablo Infante Arko Dewri Harnadar Anand Guransh Singh Dante Luna Simran Singh Ram Vaidyanathan Matt Marlowe
Sitar Ensemble:
Candy Samareta Tyler Wennstrom Rohan Luhar Nessa Riazi Nicole Andrews Chris HunterVileena Koneru Ethan Opdahl Samy Warrier Rahul Chandrupatla
Abhiman Kaushal teaches tabla drumming at UCLA. He was initiated into the art of North Indian tabla by his father R.B. Kaushal, who learned under the legendary Ustad Amir Hussain Khan. Abhiman Kaushal also studied under Ustad Shiekh Dawood and Shri B. Nand Kumar. He is well known for his profi ciency in the art of solo tabla and for his sensitive accompaniment, and is especially applauded for his rich tone and clarity. Mr. Kaushal has accompanied most of the leading musicians of North Indian classical music and has toured internationally.
Rahul Neuman has been a student of Hindustani music since he was a child. He began studying sitar at age twelve with his aunt, Sharmistha Sen, and Jeff Lewis, a disciple of the late Z.M. Dagar. In 1992, Rahul began intensive training under his guru Ustad Shujaat Khan in Seattle, where he was a visiting artist at the University of Washington. Rahul made several subsequent trips to New Delhi, India, where he continued training under the guidance of his guru. Rahul has performed at a variety of venues in Delhi, Chicago, and Southern California. In addition to teaching at UCLA, Rahul is currently an artist-teacher in residence for the Center for World Music in San Diego.
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Music of The Balkans EnsembleIvan and Tzvetanka Varimezovi, co-directors
� e Balkan Ensemble focuses on Bulgarian traditional and contemporary music with a wedding orchestra of modern instruments and a choir (Superdevoiche) that sings traditional songs and modern arrangements. Ivan and Tzvetanka Varimezovi have many students from all over the world, and at UCLA they continue to teach music from the diff erent regions of Bulgaria. � ey have taken the Balkan Ensemble on tours throughout California and internationally. In 2013, Ivan and Tzvetanka Varimezovi once again had a wonderful experience teaching a large group of students, this time in Mexico. From May 22-26, they traveled with the UCLA Balkan Ensemble to Mexico, and more specifi cally the CENIDIM campus. � ey held workshops for the singers and the musicians, and the trip culminated with a combined concert with students from CENIDIM and also the Balkan Ensemble. Ivan and Tzvetanka Varimezov’s goal was organizing another trip for UCLA students to Bulgaria in 2015, because of the invitation from Koprivshtitsa Folk Festival 2015, and they were able to make it. Over the years, they have gained much experience with the organization of musical- educational tours in Bulgaria, and Ivan and Tzvetanka’s work with UCLA students has given them great joy and satisfaction. � e tour to Bulgaria in August of 2015 was a continuing musical education of the students in the Music of the Balkans Ensemble. Once again UCLA’s students saw thousands of musicians, singers, and dancers from Bulgaria and from all over the world. � ey also were able to perform at the National Folk Festival in Koprivshtitsa, which brings groups from all over Bulgaria and abroad for three days of performances on seven stages placed all around the city nestled in the mountains. After the concert, which was at the main stage in Koprivshtitsa on August 7, 2015, UCLA students were overjoyed to receive the Koprivshtitsa Festival award. � is year in the Balkan Ensemble there is a group of dancers who have never danced before, taught by Dr. Phil. Gergana Panova Tekath, who is currently a Fulbright scholar at UCLA.
Program
B E� ree songs from Rodopa MountainArr. by Ivan and Tzvetanka Varimezovi
“Devoiko Mari Hubava”A young man is asking a young woman if she fell from heaven or she did spring up from the garden, because she is so beautiful. She said: “ I was born like you, I’m a human, I’m a real one...”
“Vchera Si Minah Male Le” A man meets a woman at the farmers market and off ers her money in order her to even look at him. She says no, because she is engaged.
“Jano Le Janchitse”A mother gets her daughter engaged without asking her, but her daughter breaks off the engagement. When the mother asks her why she did it, the girl tells herb that she didn’t ask her if she liked the boy at all.
B BBoljarinsko Horo Arr. by Ivan VarimezovDance from Trace Region in 2/4 timePlovdivska Rachenitsa arranged by Ivan VarimezovDance from Trace Region in 7/8 time
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The Music of the Balkans Ensemble program continues on the following page. 3
May 132016
Music of The Balkans Ensemble (continued)
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“Otdolu Idat” Arr. by Stefan Mutafchiev
A wedding song from North BulgariaA wedding is being prepared for Stujan and Toina.
“Hubava Milka” Arr. by Nikolai Kaufman
Milka’s mother boasted about her: “ She is so industrious and very stylish too” Milka’s fame spread all the way to Istambul to the market-
place. When Marko, the merchant heard about her, he loaded his boat with silk, silver thread and gold. When Milka stepped aboard to buy
silk, Marko battened down the hatches and car-ried off beautiful Milka.
“Strati Angelaki”Arr. by Petar Krumov
Song from Strandja, Trace region - the song is about two leaders, Strahil is asking Angelaki:
“You were the leader of our group, but now you look sad and old. What is going on?”. Angelaki
answers: “ I’m sad, old and tired, because I’m wounded(bullet) and now I’m sick.
“Tri Bjulbjula Pejat”Arr. Petar Krumov -
� ree nightingales sing in the Pirin Mountain, the fi rst for dinnertime, the second for night and the third for the morning. A young woman was
feeding them: the fi rst one with sweet bread, the second one with fi gs and raisins. � e third one
she was feeding with bitter vine and poison, be-cause she didn’t want to wake up early.
B BDobrudzhanska Sborenka - Arr. Ivan VarimezovDance from Dobrudzha Region in 2/4 timeDaichovo Horo - Arr. Ivan VarimezovDance from North Bulgaria Region in 9/8 timeShopska Rachenitsa - Arr. Ivan VarimezovDance from Shop Region in 7/8 time
S COi Mori Kavale - Arr. Stefan Mutafchiev A sound of kaval players comes from Pirin mountain, because there is a wedding. Bairakrate - Arr. Stefan MutafchievTwo traditional duets from Shop Region
B M C EIzgrejala Mesechinka - Arr. Stefan Kanev � e Moon is looking at the young girl Irina’s garden, she was picking fl owers and making a coloured bouquet of red, orange, green, blue, yellow....
B M C ETwo songs from Pirin Macedonia Arr. Ivan and Tzvetanka Varimezovi
“Domakine” - A guests were asking the master of the house: “Wake up, wake up, you have to treat us, because we brought a very good news for you. You just got a new baby boy, and also your sheep fl ock was lambed and got so many baby lambkins. Now your soul is so rich and full of joy.“Tri Momi” - A young man was asking his mother: “ Mom, I’m in love with three young women and tell me which one I can take as a wife, the fi rst one, the second one or the third one?” Her an-swer was: “Take the fi rst one my son, she is the best one.”
Program, cont.
May 132016
Music of The Balkans Ensemble (continued)
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Superdevoiche Choirdirected by
Tzvetanka Varimezova
Alexandres Catherine Maria Alexandra Grabarchuk
Ani. TontchevaBonny Nj
Choi Moonsun SarahEleanor Lipat
Elena GeorgievaInaba Sophia Hiromi
Joan HantmanJane Parks
Kim Tiff any Tae HyonKim YoojinLi Zhequin
Mellen Emily DonovanNessa Riazi
Paula Peng, Ronda BerkeleySean Roderick
Shen XuSahagun Sophia NataliaTaing Nongfa Melanie
Tatyana Tabakova
Balkan Banddirected by Ivan Varimezov, gaida (bagpipe)
Joseph Ferrin, saxophoneCeylan Guzel Yagmur, clarinetAnna Kouchnerov, violinRyan Koons, violinMelinda West, accordionMing Kan Tak, pianoSamuel Robertson, accordionPablo Infante Amate, drumJerry Ryan, tambura
Mixed Choirdirected by Tzvetanka Varimezova
Alexandres Catherine Maria, Alexandra Grabarchuk, Ani. Tontcheva, Bonny Nj, Choi Moonsun Sarah, Choe Fernando Javier, Doleac Ben-jamin Grant, Eleanor Lipat, Elena Georgieva, Inaba Sophia Hiromi, Jane Parks, Joan Hantman, Kim Tiff any Tae Hyon, Kim Yoojin, Li Zhequin, Mellen Emily Donovan, Nessa Riazi, Paula Peng, Ronda Berkeley, Sean Roderick, Shen Xu, Sahagun, Sophia Natalia, Taing Nongfa Melanie, Tatyana Tabakova
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Drummers Class:Chen Yayi, Cho Seunghui, Choe Leslie, Hau Ka Lam, Jin Jong Hyun, Kim Blair, Kwak Soohyun, Lee Joongho, Lee Ho Sung, Lee Min Sug, Li Nize, Lim Stacy, Park Andrew, Shin Ian, Song Joohee
Bayraktar Sevi, Chung Seon, Huh Seung Woo, Jeon Daeun, Jeon Seong Hyeon, Kim Junsung, Kim Juyoung, Kim Kiwon, Lee Sangcheon, Li Yongwen, Lim Jong Woo, Pan Lin, Park Da Ye, Pi Jeong Chan, Situ Ting, Yoon Seo Young
Dancers directed by
Gergana Panova
Mixed Choirdirected by Tzvetanka Varimezova
Alexandres Catherine Maria, Alexandra Grabarchuk, Ani. Tontcheva, Bonny Nj, Choi Moonsun Sarah, Choe Fernando Javier, Doleac Ben-jamin Grant, Eleanor Lipat, Elena Georgieva, Inaba Sophia Hiromi, Jane Parks, Joan Hantman, Kim Tiff any Tae Hyon, Kim Yoojin, Li Zhequin, Mellen Emily Donovan, Nessa Riazi, Paula Peng, Ronda Berkeley, Sean Roderick, Shen Xu, Sahagun, Sophia Natalia, Taing Nongfa Melanie, Tatyana Tabakova
Ivan Varimezov, a master of the Bulgarian gaida(bagpipe) and director of traditional folk instrumental ensembles, was born in Bulgaria and received an MA degree in folk instrument performance and ensemble conducting from the Academy of Music and Dance in Plovdiv, Bulgaria. Ivan began his musical education at the knee of his uncle, Kostadin Varimezov, who was Bulgaria’s most famous bagpiper until his death in 2002 and the subject of Timothy Rice’s book, May it Fill Your Soul: Experiencing Bulgarian Music (Chicago, 1994). Raised in the traditions of his native region Strandja, Ivan is one of the most outstanding gaida players of his generation and has many solo recordings and awards to his name. During the 1980s, he was a soloist in the � race Ensemble of Music and Dance in Plovidiv and a soloist and conductor of the folk instrumental ensemble Pazardzhik. During the 1990s, he moved to Sofi a to become a soloist with the Bulgarian National Ensemble of Folk Music and Dance and the Bulgarian National Radio Folk Orchestra. Both Tzvetanka and Ivan Varimezovi moved to the United States in 2001 to teach Bulgarian folk music at UCLA. In 2008, Ivan received the “Golden Lyre” and the Honorary Citizen Award from his native town, Sredetz, in recognition of his thirty-year professional artistic career.
May 132016
Music of The Balkans Ensemble (continued)
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Tzvetanka Varimezova is an internationally respected singer, conductor of Bulgarian-style choirs, and a gifted teacher. She was born in Pazardzhik, Bulgaria and received an MA degree in choral conducting and folk instrument pedagogy from the Academy of Music and Dance in Plovdiv, Bulgaria. During the 1980s, she directed the choir of the Pazardzhik regional professional ensemble of folk song and dance. During the 1990s, she was a soloist and assistant choral director of a number of professional women’s choirs in Sofi a, including the Bulgarian National Ensemble of Folk and Dance, founded by Philip Koutev; Les Grandes Voix Bulgares, a choir specializing in Bulgarian folk and Orthodox music; and the folk ensemble of Trakia. Tzvetanka has many solo recordings to her name and is well known for her sweet and brilliant tone quality, her coloratura-like fl exibility, and her interpretations of the highly-ornamented songs from her native Pazardzhik region. In addition to being an accomplished vocalist, accordionist, pianist, and tambura player, she is also a skilled folklore collector. She has toured throughout the world and has coached choirs and conducted workshops in Denmark, France, Greece, Japan, and the United States. In August 2010, Tzvetanka celebrated her fi ftieth birthday in Bulgaria with 180 musicians from all over the world. At that concert, the mayor of Pazardzhik, Todor Popov, gave her an Honorary Citizen Award in recognition of her thirty-year professional artistic career.
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Gergana Panova Tekath is a Professor of International Dance at Folkwang University of Arts in Essen, Germany and Chair of the Ethnochoreology Program at the Bulgarian Academy of Sciences in Sofi a. Currently she is Fulbright scholar and teacher at UCLA. Gergana Panova-Tekath is trained as a stage performer, dance teacher, choreographer, ethnologist, stage director, and Laban notator. She was born in Sofi a, Bulgaria and graduated with honors from the National High School for Dance (Sofi a) and the Academy for Music and Dance (Plovdiv). She was a soloist and ballet master with Philip Koutev Ensemble (1988-1993), while also working with children and youth doing stage performances. She obtained her Ph.D. summa cum laude from Techni-cal University Dortmund, where she studied communications, philosophy, and intercultural education. In 2011, she completed the post doctorate in ethnochoreology and intercultural communication at the Bulgarian Academy of Sciences in Sofi a. Gergana Panova-Tekath also co-founded the � eater Department of the New Bulgarian University (Sofi a), was director of the National Dance Archive at the Bulgarian Academy of Sciences, and has served as visiting professor in Berlin, Zurich, TU Dortmund, and Vienna. She is the author of two books and more than sixty articles on intercultural communication and the semiotics of various forms of traditional dance, She also organizes frequent summer culture seminars in Bulgaria and has taught dance workshops in Europe, Asia, and North and South America.
Program
A traditional medley in maqam (melodic mode) Nahawand, consisting of dulab (short pre-composed prelude); taqasim (solo instrumental improvisation) on the buzuq (long necked fretted lute) by Ryan Vig; and “Longa Nahawand” (an instrumental work), composed by A. J. Racy.
Taqasim on the ‘ud (short-necked lute) performed by Gabe Lavin, followed by “Tu-tah,” a composition by the late singer, composer, actor, and ‘ud virtuoso Farid al-Atrash.
Taqasim on the ‘ud in maqam Hijaz performed by Sam Robertson.
“Murra t-Tajanni,” a muwashshah (an old classic vocal genre), lyricist and composer unknown, performed by Albert Agha.
Improvisations and variations on traditional musical themes performed by Münir Beken on ‘ud, A. J. Racy on nay (reed fl ute), and Souhail Kaspar (frame drum).
“Promenade,” a composition by A. J. Racy performed by a smaller group: Anna Kouchnerov on violin, Dave Wilson on clarinet, Gabe Lavin on ‘ud, Ryan Vig on qanun (plucked zither), Miles Jay on double bass, and Pablo Infante-Amate on riqq (traditional small tambourine).
“Mayyala,” a folk-inspired instrumental work composed by A. J. Racy with a percussion improvisation on the tablah (Arab hand drum) by Souhail Kaspar.
Near East EnsembleA. J. Racy, director
Ryan Vig, ensemble assistantMünir Beken, Miles Jay, and Souhail Kaspar, guest artists
SATURDAYMay 14 20167 p.m.
� e UCLA Near East Ensemble presents music largely from the Arab world, particularly from East Mediterranean cities such as Cairo, Damascus, and Beirut. � e repertoire includes court music from the Ottoman era, Sufi -related works, modal improvisations, and music heard in folk celebrations. Distinguished guest artists join the ensemble for this evening’s performance, which features both conventional full-ensemble pieces and compositions for the takht, or traditional small ensemble.
6 The Music of the Near East program continues on the following page.
Albert Agha (‘ud, violin, & voice)Duke Anderson (riqq)Nicole Andrews (‘ud)Kathleen Beaufait (violin)Münir Beken (‘ud)Robin Blades (riqq)Meriel Caressa (violin)Pablo Infante-Amate (riqq)Tina Javanbakht (violin)Miles Jay (double bass)Laura Jue (‘ud)Olivia Kaplan (‘ud)Souhail Kaspar (riqq, framedrum, and tablah)Adnan Khoja (‘ud)Anna Kouchnerov (violin)Maia Kuspa (riqq)Gabe Lavin (‘ud)Ziyad Marcus (‘ud)Emily Mellen (nay)Authur Minas (‘ud)A. J. Racy (violin, nay, & buzuq)Barbara Racy (riqq)Mina Riazi (riqq)Nessa Riazi (riqq)Sam Robertson (‘ud)Elana Sasson (riqq) Amanda Sussman (nay)Ryan Vig (buzuq)Malek Vossough (violin)Samyukta Warrier (riqq)Tyler Wennstrom (‘ud)Dave Wilson (clarinet)Eli-Ran Youshaei (riqq)
Performers
May 142016
Near East Ensemble (continued)
A. J. Racy, PhD is a performer, composer, and professor of ethnomusicology at the University of California at Los Angeles. Born in Lebanon, he comes from a well-known family of artists, scholars, and academicians. Racy is internationally recognized for his extraordinary musicianship and his numerous publications, including his award winning book, Making Music in the Arab World: � e Culture and Artistry of Tarab (Cambridge University Press, 2003). He is a master of many traditional instruments, particularly the nay, a reed-fl ute, and the buzuq, a long-necked fretted lute. He has performed extensively in Lebanon and has appeared in major U.S. theaters, such as Carnegie Hall, the Kennedy Center, the Hollywood Bowl, and the Walt Disney Concert Hall, and at international venues, including the Beiteddine Festival in Lebanon, the Commonwealth Institute in England, the Institute of Fine Arts in Mexico, the School of Music of the Federal University of Rio de Janeiro and the Villa-Lobos Institute in Brazil, and the China Conservatory of Music in Beijing. He has lectured widely in North America, as well as in Finland, Greece, Mauritius, Réunion, England, Turkey, Mexico, Brazil, China, Canada, and throughout the Arab world. He has composed for and performed with the Kronos Quartet and the Sacramento Symphony Orchestra, as well as for feature and documentary fi lms. He has performed with many renowned artists including Kenny Burrell, Shujaat Khan, Tsun Yuen Lui, Sting, Tito Puente, Djivan Gasparyan, Wadi al-Safi , Cheb Khaled, and Shaykh Hamza Shakour. His music has been released on a number of CDs, including four Lyrichord albums, Ancient Egypt, Taqasim, Mystical Legacies, and When the Rivers Met, and on a Kronos Quartet release titled Caravan. Dr. Racy is the recipient of numerous honors and tributes from a variety of cultural institutions, including a highly prestigious award in 2012 from the Chinese Taichi Traditional Music Foundation for outstanding traditional musicians and music scholars worldwide.
SATURDAY
The Music of the Near East program continues on the following page. 7
SATURDAYNear East Ensemble (continued)
May 142016
Münir Beken is a composer, performer, and assistant professor of theory and composition in the Department of Ethnomusicology at the University of California, Los Angeles. His compositions have been performed internationally with considerable recognition in some of the most signifi cant concert halls in the world. � e performance of his Triple Concerto featured the eminent violinist Shlomo Mintz. His symphonic poem Gallipoli was premiered in March 2005, and A Turk in Seattle featured Seattle Chamber Players in February 2006 at Benaroya Hall in Seattle. He has given recitals in such venues as the Metropolitan Museum of Art and the Herbst � eater in San Francisco. In 1994 he won the Individual Artist Award of the Maryland State Arts Council and became the executive director of the Center for Turkish Music at the University of Maryland, Baltimore County. American composers Melodie Linhart, Eric Flesher, and Christopher Shainin have written original compositions for Beken.
Souhail Kaspar is a highly acclaimed performer on Near Eastern percussion instruments and a Durfee Foundation award winner. Born in Lebanon, Mr. Kaspar received his early music training in Syria, where he assimilated the basic theory and technique of Arab percussion from established artists. Since then, he has played with various celebrated ensembles and vocalists. Now based in Los Angeles, he has performed in major Middle Eastern venues in the United States and has accompanied singing stars in this country and abroad. Kaspar has appeared with A. J. Racy in numerous concerts and cultural events. He has also recorded on a number of albums, including Khaliji, featuring compositions from the Arab Gulf region, and Awzan, which illustrates the various Arab rhythmic modes. A 2008 Grammy nominee, Kaspar gives master classes and workshops throughout the country and internationally.
8 A performance by the Music of China Ensemble follows a fi fteen-minute intermission.
Miles Jay is a bassist, fi lm composer and producer, and has performed in over two dozen countries at venues in-cluding Carnegie Hall, the TED Convention, the Emir-ates Palace Abu Dhabi, and ABC’s “Dancing with the Stars,” with artists such as Youssou N’Dour, Ziad Rah-bani, and Naseer Shamma. Miles was the Music Director of the thirteen member ensemble The Nile Project from 2012-2015, called “a committed Euphoric International Coalition” by the New York Times. Miles is a Sundance Composer Fellow and recently co-scored with Vernon Reid the award-winning documentary Through a Lens Darkly: Black Photographers and the Emergence of a People.
May 142016
SATURDAYMusic of China EnsembleChi Li, director
Program
1. ENSEMBLE
Mei Li de Shen Hua (A Beautiful Myth) Cui Junrong, Arranged by Chi LiVoice: Albert Agha; Gaohu: Joel Hernandez, Zo Shay
Xi Qing de Ri Zi (A Day of Celebration) Zhu JianerBanhu: Georgia Broughton
Ensemble One
2. SILK AND BAMBOO MUSIC
Si Chang Zhu Qing (Lustrous Silk and Green Bamboo) Fu PeihuaPutao Shule (� e Grapes Have Ripened) Wang Guowei Arranged by Chi Li
Albert Agha, Georgia Broughton, Allison Chaklos, Yi-jui Chang, Di Chen, Tianlong Chen, Teresa Ji, Zhe Ji, Wandai Li, Yuan Ma, Lin Pan, Tianyi Ruan, Kelly Seto, Zo Shay, Jessica
Tang, Raphael Wang, Yiqin Wei, Hanning Xing, Ling Yang, Jieming Zhao
3. QIN UNISON Gu Yuan (Ancient Lament) Jiang Kui (1155-1221) Zha Fuxi Version
Katie He, Sihong Liu, Raphael Wang, John Widman, Siyu Wu, Eros Zhao
Mei Hua San Nong (� ree Variations on Plum Blossom) Manuscript of Jiao An (1868) Zhang Ziqian Version
Yu-hsiao Chen, Jubing Ge, Siosi Wong, Meimei Zhang, Shiyi Zheng
4. ZHENG UGao Shang Liu Shui (Steep Mountain and Flowing Water) Traditional Zheng music
Zhejiang schoolYu Chen, Kelsey Khanh, Keyi Tan, Yiye Sun, Haorui Zhang
Mo Li Feng Fang (Jasmine Fragrance) He ZhanhaoXing Chen, Yingying Hong, Ling Yang, Kady Yan, Yutian Yang
5. Di Quartet Ding Zui (Bickering) Folk Music from Hebei Province
Liang Peiyin, Liu Liren VersionYi-Jui Chang, Irwin Hui, Kelly Seto, Emily Tsai
The Music of China program continues on the following page. 9
SATURDAYMusic of China Ensemble (continued)
May 142016
PROGRAM NOTES:
Mei Li de Shen Hua (A Beautiful Myth) is arranged from the theme song of the movie � e Myth (2005). It expresses though music the vows of love, stating, “� ough thousands of years will bring about great change, love remains an eternal legend.”
Xi Qing de Ri Zi (A Day of Celebration) is an ensemble music composed in 1952 based on folk melodies of Shanxi and Shandong provinces. It depicts the excitement and happiness of farmers for receiving land of their own.
Si Chang Zhu Qing (Lustrous Silk and Green Bamboo) an ensemble piece composed in Jiangnan Silk and Bamboo style.
Putao Shule (� e Grapes Have Ripened) is a popular erhu solo music composed with Xinjiang Uygur music elements. It depicted the happy scene of people singing and danc-ing to celebrate their grape harvest.
Gu Yuan (Ancient Lament) is the earliest surviving tablature of a lyrical song written for the qin. Both the music and poem are composed by Jiang Kui (1155-1221AD). Jiang Kui’s compositions have a style of being beautiful, soft, but indirect. � is piece describes
10 The Music of China program continues on the following page.
6. Kun Opera Aria Zi Chai Ji – Zhe Liu (� e Story of the Purple Hairpin – � e Willow Branch) Tang Xianzu (1550 - 1616)
Meng Shi, Jinling Wang, Lu Wang, Mengxiao Wang, Iris Yang, Meihong Yue, Changchang Zhang, Jieming Zhao, Yiwen Zhu,
Di: Yi-Jui Chang, Erhu: Georgia Broughton
7. DanceKong Que Wu (Peacock Dance) Dai people’s dance
Leading dancer: Rose ZhangRuixue Feng, Shuwei Gong, Bernice Leung, Jing Li, Xiaoying Nie,
Xu Shen, Hanlu Su, Lumin Wang, Meilin Xie, Lingqi Yin, Siyang You, Gan Yu, Lanxin Zhang, Liming Zhang
Dragon Dance Sean Yan, Chingtung Ho, Yongchang Li, Haokun Ren, Chunghon Tsang
Professor Chi Li is a highly accomplished performing artist on the erhu and prolifi c educa-tor of Chinese music. After graduation from the Conservatory of Chinese Music (Beijing), she served as the erhu soloist at the National Traditional Orchestra of China (the most re-nowned orchestra of Chinese music instru-ments) and performed in presidential concerts in Beijing frequently during the 80s. In the U.S. she has been fea-tured on concerts held at prestigious venues such as Madison Squire Garden (New York), Ronald Reagan Building (Washington D.C.), Av-ery Fisher Hall/Lincoln Center (New York).
Program, cont.
May 142016.
SATURDAYMusic of China Ensemble (continued)
the metaphor of a beautiful woman who waits in vain for her lover as the prime of her youth and beauty is wasted. “Eyes fi lled with rivers of tears which moisten my sandals” is one line from the song that subtly reveals Jiang Kui’s concern for the perils of the nation’s aff airs.
Mei Hua San Nong (� ree Variations on Plum Blos-som) is a qin music fi rst appeared in Manuscript of Shen Qi Mi Pu (1425). It has many diff erent versions. � is is the version from the Manuscript of Jiao An (1868). � e music depicted the pure innocent plum blossom in the tranquility snowy day and spread its subtle fragrant qui-etly. It is a piece full of ancient Chinese literati taste.
Gao Shang Liu Shui (Steep Mountain and Flowing Water) – � e story behind this title takes place 2600 years ago when a famous qin (seven string zither) player, Yu Boya, found a woodcutter in the deep mountain area who truly understood his music. “Steep Mountains” and “Flowing Waters” were two pieces Yu Boya played at that time. From then on, people use “Steep Mountains and Flowing Waters” as a metaphor for being keenly appre-ciative of one’s talents. � ere are many diff erent pieces that bear this title. � is one is a zheng composition in the Zhejiang style. We hope you will be one of those keenly appreciative friends of ours.
Mo Li Feng Fang (Jasmine Fragrance) is a zheng piece adapted from the melody of a popular folk song called “Jasmine” from the Jiangsu province. � e jasmine fl ower is one of the Chinese people’s favorite fl owers for its el-egance and light fragrance. Its fresh and pleasant character also represents the gentle and amiable demeanor of the women of southern China.
Ding Zui (Bickering) is a folk dizi piece from the Hebei province with great humor and a lively melody. It uses many technical skills to create an energetic atmosphere of a scene of people actively bickering. � e piece demonstrates the fl exibility and expressiveness of a dizi ensemble.
Zi Chai Ji – Zhe Liu (� e Story of the Purple Hair-
The Music of China program continues on the following page. 11
pin – � e Willow Branch) � e Story of the Purple Hairpin is written by famous playwright, Tang Xianzu (1550 - 1616). It is about a loving couple that endures separation, misunderstanding, and many hardships until they are fi nally happily reunited. � e wife, Huo Xiaoyu, presents a willow twig (liu) to her husband, Li Yi, as a symbol of her love when he has to leave for the war. In this aria, they expressed their pain of separation.
Introduction to Chinese Instruments:Dizi - a transverse bamboo fl ute with six fi nger holes, a mouth hole, and a hole covered by a thin bamboo mem-brane which gives the instrument wavering poignant sound. � ere are more than 160 pieces of 7000 years old bone di surface in China He Mu Du.
Qin - an unbridged seven-stringed zither with over 3000 years of history. � ere are more than 3,600 known an-cient Qin compositions collected in nearly 130 Qin man-uscripts. Other than regular notes, it has 119 playable harmonics.
Sheng - an ancient mouth organ with 17 or 21 bamboo pipes, each with a reed fi tted on its lower end, inserted into a copper base. Has about 3000 years of history.
Ruan - an early Chinese plucked lute having a round body and a long fretted neck with four strings, which are plucked with a plectrum. Has about 2100 years of his-tory.
Erhu - a two-string lute with the horsehair of the bow held in between the two strings. Has about 1000 years of history.
Pipa - a pear-shaped plucked lute with four strings. It has four upper frets and twenty-four lower frets. � e Pipa is plucked with fi ve real or synthetic nails of right hand fi ngers.Zheng - a bridged long zither with varying sizes and twenty-one strings plucked with real or synthetic nails.
SATURDAYMusic of China Ensemble (continued)
May 142016
Student Performers:
AGHA, ALBERT NASSERBROUGHTON, GEORGIA VANCECAI, JINYICAO, CONGCHAKLOS, ALLISON MICHELLECHANG, YI-JUICHEN, DICHEN, TIANLONGCHEN, WEIHANGCHEN, XINGCHEN, YUCHEN, YUANLINGCHEN, YU-HSIAOCHEN, ZONGYUNCHUNG, HOSUKCHUNG, SEON ADAI, WEIFENG, RUIXUEGAN, YUGONG, SHUWEIHE, KATIE HUHERNANDEZ, JOEL CHRISTIANHO, CHING TUNGHONG, YICHAOHONG, YINGYINGHUANG, WEICHENHUANG, WANGHU-AlexHUANG, YIFENGHUI, IRWIN TIN LOENJI, TERESA CHENGJI, ZHEJIANG, DANNIJIN, RUNQIUKHANH, KELSEY (CHAU)KIM, HYUN SAEKIM, KI WONKIM, TAEHYO
KWON, LYDIA EUN-KYUNGLAI, ZHIXUANLEUNG, BERNICE KING-WINGLI, JINGLI, SHANYUELI, WANDAILI, YANGBINGXINLI, YONGCHANGLIU, SIHONGLIU, XINYUELIU, YIFANLUO, YINGMA, SIYUANMA, TIANYIMA, YUANMU, HAONIE, XIAOYINGPAN, LINPAN, NICOLE (YU)PARK, KYUNGJUNPARK, SANG HYUNREN, HAOKUNRUAN, TIANYIRUPANI, RAUNAK MANOJSETO, KELLYSHAY, ZOSHEN, XUSHI, MENGSHI, YIHANSI, CHONGSU, HANLUSUN, YIYETAN, KEYITONG, JADE KARLIETSAI, EMILY TINGTSANG, CHUNG HONTSANG, MAN CARINA
WANG, HARVEY ARTHURWANG, JINLINGWANG, LUWANG, LUMINWANG, MENG XIAOWANG, RAPHAEL (LUXING)WEI, YIQINWIDMAN, JOHNWONG, SIO SIWU, SIYUXIE, MEILINXING, HANNINGYAN, KADY XINYIYANG, IRIS (HE)YANG, LINGYANG, YUTIANYIN, LINGQIYOU, SIYANGYUE, MEIHONGZHANG, CHANGCHANGZHANG, DUANHAOZHANG, HANZHANG, HAORUIZHANG, LANXINZHANG, LIMINGZHANG, ROSE (XIAOXI)ZHANG, SIYIZHAO, EROS SHUOZHAO, JIEMINGZHAO, TONGZHENG, LILY (SHIYI)ZHOU, SHUYUZHU, DINAZHU, YIWENZHU, YUE
12
Stage Manager: Wei Dai, Luxing Wang Alumni: Jessica Tang , Zo Shay, Yingying Hong, Yu Che
May 1520167 p.m.
SUNDAY
The African American Ensemble program continues on next page. 13
African American EnsembleJames Roberson, director
� e UCLA African American Ensemble and soloists will perform a diverse mixture of gospel music beginning with Negro spirituals and including traditional gospel and contemporary gospel. � e roots of gospel started in the southern U.S. in the 1600s with enslaved Africans. In the early twentieth century, the music evolved into a refi ned urban form, especially in Chicago, which is known as the home of modern-day gospel music. � e choir will be accompanied by piano, drums, and bass guitar. Songs will be announced from the stage.
Adlparvar, Ava ArielAmjadi, NazaneenAshida, Lani AyakoBauer, Casey JonesBayarsaikhan, KhaliunaaBovshow, Maya BerlinBrown, Dominique Alexis-NecheleCamagong, James DimailigCarbonneau, Courtney LeeCaressa, MerielCebreros, Gabriella NicoleChan, Alicia (Wing Ki)Chan, Lucas OmvulaChang, ElijahChin, Jonathan CareyCho, EunhoCho, Marissa ReneeCho, SeunghuiChoi, YoungjunChou, Kevin Chih-HsienChuang, Pei-JungChurch, Teira Nicole
Dr. Jonli Tunstal Guest Choir Director
Michael Berealpiano
Jimmy Neublebass
Michael Neubledrums
Guest Artists Ensemble Members
Cleverly, Willow AnneDizon, Daphne-Jane AmarlesDumas, Michael JamesEaton, Elizabeth MarieEhresman, Allysen BrookeEom, Joo HeeFerrer, Nia Riegel EchevariaFoglia, Madeline ElizabethFrancis, Connor JamesFrankel, Alec HenryFreemire, Abielle GayleFu, Man HoGajardo, Rachel SusanaGarcia, Ariana ZanoriaGarrette, Marcus ClayGo, NuriGreen, Brian JamesHan, Elizabeth ChungHannum, Noelle ElizabethHernandez, Melanie BerjaHong, Sung HoHu, Calvin Chia-EnHubbard, Jasmine Leah-Ni’cole
Program to be announced from the stage.
African American Ensemble (continued)
SUNDAYMay 152016
Paik, JulieParaiso, Jasmine Ylen IraolaPark, Hee LangPark, JieunPatag, Stephen Paul MauricioPhan, TinaPirone, KristyPutra, Kenzo MandalaRespicio Rueff , Lauren AlyssaSalama, Marina FaroukSchwandt, Bradley GeorgeShader-Seave, Clara RuthShen, Samantha MSheng, Michael � omasShih, Wing HangShin, Ju EunSon, MinjungTakahashi, Clara LynneTang, Jonathan Yiu Jo� ai, Dang TueTran, Tiff any � uy TienTrinh, Jessica QuangTsukayama, Oscar TomosadaWaters, Halea BWeng, WensenWoff ord, Jodi EmmalineWong, AmyWong, Wing LamWong, Wing Lok WilsonWu, Christie ChiYang, Samuel MatthewYeroushalmi, ElenaYou, Karisa EunhaeZhu, Joseph
Hui, RobertJauregui, Stephanie IvonneJeon, Chang YongJiang, Christina KaylaKang, Baek KyuKang, Michelle Dah-YeKim, Andrew Dong WookKim, Erin YealinKim, HyejinKim, IsaacKim, Jeong YeonKim, Ki WonKim, Kyu WooKim, Tai-HoonKnights, Ashley ReneKumar, MihirKwon, Jordan KyujayLee, HajuneLee, SujiLeung, Hoi KiLevy, Evan RoseLi, Eric Hao-EnLi, YongwenMagula, Vanessa MarieMalaviya, AvinashMonells-Pellicer, XeniaMottahedeh, Lisa DeborahNa, YeajungNelms, Emily MayNg, Hailey (Hoi Ki)Nguyen, AnthonyNguyen, Carolyn VuOgden, Sarah ElizabethOh, Rachel JungeunOliman, Calvin Jay Mangu-labnan
James Roberson is a Grammy®-nominated music producer who has been the director of the critically acclaimed UCLA Gospel Choir since 1997. Two of his last three albums were nominated for Stellar Awards, gospel music’s highest honor, and a third won a Billboard Award. Roberson is president and CEO of JDI Records, one of gospel’s fastest growing record labels, and the recipient of numerous grants, including one from the Los Angeles Cultural Affairs Commission for Rebuild/Rejoice!—a chorus of Korean and African-American youth formed in response to the civil unrest following the Rodney King verdicts. As producer and songwriter, he has worked with a wide variety of well-known artists, including Stevie Wonder and Paul Simon, as well as gospel greats Kirk Franklin and Margaret Pleasant Douroux. His two releases, “Battlefi eld” by Norman Hutchins and “Sing It on Sunday Morning” by Chester Baldwin, made the Billboard Charts last year. He received his MBA from UCLA, a BA from the University of Texas at Austin, and a diploma in vocal performance from the Grove School of Music.
14 A performance by the Omni-Musicality Group follows a fi fteen-minute intermission.
May 152016
SUNDAY
� e Omni-Musicality Group (OMG) is a relatively new ensemble in the Department of Ethnomusicology. � e OMG invites musicians from a variety of musical traditions to rehearse together weekly in order to develop new frameworks for improvised music-making.
Program
OMG! Kecak!This piece is based on a form of Balinese dance and music drama that was
developed in the 1930s in Bali, Indonesia. Kecak, also known as the Rama-yana Monkey Chant, is usually performed by a circle of at least 150 perform-
ers wearing checked cloth around their waists, percussively chanting “cak” and moving their hands and arms, depicts a battle from the Ramayana. OMG’s
version will include switching who is the lead monkey, Hanuman, allow-ing each musician a chance to improvise leading the groups in characteristic
rhythms and dance movements. Arranged by Otto Stuparitz.
ProcessingProcessing is a video and video generation system created by OMG member Kiyoshi Okada. The video generates images, fi gures, and backgrounds based on a single rhythmic timeline. This timeline is individually divided for each
shape, creating many simultaneous pulses. The colors for the video have been selected from images by artists such as Van Gough and Stanley Kubrick.
While OMG has rehearsed with Kiyoshi’s videos, the video displayed has been generated for tonight creating a fi rst time experience for the musicians.
Video Game #1: F-ZeroThis game will be live scored by OMG, interacting with the image, the video
game player, and the other musicians. One member of OMG will play the game fi rst and we invite two audience members to play. It’s a racing game, so
get to the fi nish line fi rst! Arranged by OMG.
Omni-Musicality GroupSteven Loza and Otto Stuparitz, co-directors
The Omni-Musicality Group program continues on the following page. 15
Performers
Kate Bacich
Alan Conde
Melanie Hernandez
Aaron Hogan
Gabe Lavin
Zheqin Li
Steven Loza
(co-director)
Kiyoshi Okada
Otto Stuparitz
(co-director)
Natalie Tantisrirat
Nicholas Tom
Arami Walker
Program continues on next page
Omni-Musicality Group (continued)
SUNDAY
Steven Loza is a professor of ethnomusicology at UCLA, where he has been on the faculty since 1984, and an adjunct professor of music at the University of New Mexico, where he formerly directed the Arts of the Americas Institute. He has conducted extensive research in Mexico, the Chicano/Latino U.S., and Cuba, among other areas, and has lectured and read papers throughout the Americas, Europe, and Asia. He has been the recipient of Fulbright and Ford Foundation grants among numerous others, and has served on the national screening and voting committees of the Grammy Awards for fi fteen years. Aside from UCLA and the University of New Mexico, he has taught at the University of Chile, Kanda University of International Studies in Japan, and the Centro Nacional de las Artes in Mexico City. His publications include two books, Barrio Rhythm: Mexican American Music in Los Angeles (1993) and Tito Puente and the Making of Latin Music (1999), both published by the University of Illinois Press, and four anthologies, Musical Aesthetics and Multiculturalism in Los Angeles(UCLA Ethnomusicology Publications, 1994), Musical Cultures of Latin America: Global Eff ects, Past and Present (UCLA Ethnomusicology Publications, 2003), Hacia una musicología global: pensamientos sobre la etnomusicología (CENIDIM/CONACULTA, Mexico, in press), and Religion as Art: Guadalupe, Orishas, Sufi (University of New Mexico Press, 2009). Loza has performed a great amount of jazz and Latin jazz, has recorded two CDs, and has produced numerous concerts and arts festivals internationally; he was director of the UCLA Mexican Arts Series from 1986 through 1996 and co-director of the Festival de Músicas del Mundo in Mexico City in 2000. In 2008 he produced a concert at Disney Hall in Los Angeles featuring the Mexico City Philharmonic Orchestra and including the world premiere of his tone poem America Tropical, a multimedia symphonic piece based on the mural by David Alfaro Siqueiros.
Otto Stuparitz is a graduate student in the UCLA Department of Ethnomusicology studying traditional and popular music from Indonesia. He has a background playing jazz, gamelan, popular music, and free form improvisation. He has composed for Balinese gamelan with live electronics, toured with Americana rock bands, and hosted a radio program called Radio Dada at the University of Chicago that sought to use the radio station as an instrument. With OMG he brings together an assembly of voices and improvisational traditions creating a unique sound for each rendering of the group.
May 152016
16
Video Game #2: Mario 64A classic game. One OMG member will play one level and we invite one audience member to play a water puzzle level. The
goal? Collect all the red coins! Arranged by OMG.
Video Game #3: Portal 2Portal 2 is a fi rst-person perspective puzzle game. Played by UCLA graduate student Helen Rowe, a player solves puzzle
by creating entrances and exits to portals. This allows a player to travel vast distances by creating these entrances and exits, travel through walls, and a multitude of strange and exciting
things! Arranged by OMG.
Pop MashupA number of OMG’s favorite pop songs arranged together so
melodies overlap and interact. We might now stay on the stage. Arranged by OMG.
Program, cont.
A performance by the Music and Dance of West Africa Ensemble follows a fi fteen-minute intermission. 17
FRIDAY
UCLA’s Bluegrass and Old Time String Band likes to play two kinds of music. You guessed it: bluegrass and old time. Old time music comes from the southern Appalachian mountains, sprouting from roots in British and Af-rican American traditions. Turns out the banjo, with its West African family tree, makes a perfect match for the fi ddle, with its long history in the British Isles and West Africa alike. � e old time repertoire includes dance tunes and ballads passed around through oral tradition to pass the time, impress a sweetheart, or instigate the audience to cut a rug.
Bluegrass is a horse of a diff erent color, but it’s still a horse. It grew from the soil of old time and early country mu-sic in the 1930s, adding virtuosic instrumentals and sweetened vocal harmonies ideal for recording, broadcast, and stage shows. It usually features fi ddle, mandolin, banjo, guitar, and bass with additional thingamajigs sometimes thrown in to boot.
� e UCLA ensemble meets weekly at Schoenberg Hall for an inclusive jam welcoming musicians of all stripes to partake in the high, lonesome sound of old time music. We focus on enjoying the act of collective music-making and appreciating the subtlety and texture of the tradition. Afterwards, the smaller bluegrass band works up classic and modern tunes, aiming for an engaging stage performance. � e band performs frequently at UCLA and in the Los Angeles area, releasing their fi rst CD in 2012 and winning fi rst place multiple times at the Topanga Fiddle Ban-jo Contest band competition. � e group is directed by Scott Linford, a doctoral candidate in Ethnomusicology.
May 2020167 p.m.
Bluegrass and Old-Time String BandScott Linford, director
Timothy D. Taylor, advisor
Bluegrass Band
Patrick Gardner, mandolin
Casey Holmberg, banjo
Elliot Kay, guitar
Scott Linford, banjo
Cory McClintick, guitar
Stephanie Nagler, fi ddle
Jules Levy, bass
Old Time String Band
Nicole Andrews
Nicole Haley
Laura Jue
Daisy Bo Young Kim
May-Claire LaPlante
Lauren Levy
Sean McArdle
Amberly Romero
Armando Wood
Will Cong Cao
Salvador Hernandez
Olivia Jane Kaplan
Ellyn King
Lloyd Fu Xiang Lee
Katie Yahui Liu
Ki Hyun Park
Nicolo Scolieri
Programs to be announced from the stage.
Music and Dance of West Africa EnsembleFrancis Awe and Omowale Orisayomi, Directors
May 20 2016
FRIDAY
� is evening performance includes music from the Yoruba tribe in West Africa. � e ensemble of percussion instru-ments used is the DunDun or Talking Drums. � e ensemble is composed of drums of many sizes, tuned at diff erent pitches, to execute its specifi c work within the ensemble. � e ensemble has a lead drum that dictates to the supports drums, as well as the dancers, their role within the ensemble. Our mission is not only to make the DunDun a uni-versal instrument, but also to transmit the family aspect of African life to all people of the universe. We are interested in using this medium to unify people of all races and colors, which is evident tonight in our UCLA performance.
Program
E ka a bo
Ise Oluwa
Sango
Drumming Demonstration
Drumming and Interpretation/Sabada
Francis Awe studied at the University of Ife in Nigeria, where he obtained a Degree in Dramatic Arts. He served as Chief Cultural Assistant and drummer for the University of Lagos, Center for Cultural Studies. Awe received a B.A. Degree in World Arts and Cultures and a M.A. in African Studies from UCLA. He has also composed music for stage, fi lm, and television. He is the founder and director of the Nigerian Talking Drum Ensemble.
Omowale Orisayomi is the lead dancer and assistant director of the Nigerian Talking Drum Ensemble. Omowale studied at the California Institute of the Arts and has a B.A. degree in psychology from Spelman College. She has also studied Ghanaian dance under the tutelage of Kobla and Dzizobe Ledzekpo.
Together, Omowale and Awe have worked with the California Art council, Los Angeles Cultural Aff airs Department, Los Angeles High School for the Arts, Alaska Art Council, the Long Beach Passport to the Arts, the University of Irvine, and UCLA just to name a few. Between the two of them they have over 30 years of experience performing and teaching Nigerian drumming and dancing and have traveled throughout the United States, India, Korea, and Alaska.
Instruments:
Iya ilu (mother drum/lead drum)Ejin (drum-second in command)Isaju (lead support drum)Ikehin (support drum)
Kanago (small drum)Gudugudu ((father drum/spiritual head/kettle shaped)Berekete (large circular drum)Conga (drum)
18 The Music and Dance of West Africa Ensemble program continues on the following page.
Music and Dance of West Africa Ensemble (continued)
May 202016
FRIDAY
Guest ArtistsSara Aguilar, Asabi Awe, Erica Coronando, Rosalba Gama, Frannie Garretson, Aleida Lopez, Maria Nova, Tati Simonian.Mary Frances Spencer, Shantel � ornton, Babatunde Awe, Charlie Lowery, Kenny Phillips, Stephen Sanchez
Ensemble MembersDavid Castaneda, Crystal Chang, Hosuk Chung, Teira Church, Ching Tung Ho, Hongye Huo, Elliot Kay, Chaerin Lee, Hyo Jin Lee, William Matczynski, Lin Pan, Xu Shen, Roderick Todd, Meilin Xie, Anqi Zhang, Siyi Zhang, Jiwon Bae, Hejin Cullen Burris-Lee, Xiafei Cen, Ching Piu Chan, Siying Fang, Jiwon Han, Araceli Hernandez, Minki Hong, Jihyun Jun, Ho Young Kim, Taehyo Kim, Giselle Leighton-Armah, Sung Woon Oh, Soo Kyung Park, Ashlee Penn, Minh Nguyen Pham, John Sanchez, Jingyeong Song, Hsio Mei Su, Chiu Chit Tsang, Shaddy Viste, Lumin Wang, Aryonia White, Xingtao Zhong
Program Notes:
E ka a bo is a processional piece in which the group welcomes its audience. � e lead drum plays, “We have all been expecting you. We hope you left home in peace. We hope your family is healthy, as you come today without trouble, so may you return without trouble.”
Ise Oluwa is a Yoruba song that means, “the work of God can never be destroyed.” � e spirit is eternal, therefore, the work that God has made can never be destroyed.
Sango is known as the Yoruba god of lightning. Sango exudes authority. � is dance refl ects the beauty and strength of Sango. It also represents getting in touch with your own personal power. You only need to know how to utilize your own strength and power.
Drumming Demonstration is a musical piece demonstrating how polyrhythms operate in Yoruba music. � is piece explores how diff erent pitches in diff erent drums, are inter- connected, to create harmony within the music.
Drumming and Interpretation is a piece that focusing on the function of the DunDun. � e Dundun is used as a speech sur-rogate to pass on history and to instruct and inform the com-munity about cultural values, morals, tradition, and culture. � e master drummer manipulates the tension on the drum to play important proverbs then the canter sings the proverb to show that the drum is actually talking. Our message to tonight is, “a tree cannot make a forrest.”
Sabada is a social dance. � e word Sabada itself means style. However the dance is a dance of gratitude. � rough the dance the dancer is admiring God’s handiwork, therefore, this is a dance of self love and high self esteem. � e dancers enjoy the music and dance in celebration of life.
19
Guest Dancers Casey Lee Sims
Weny MichelsteinNiken Sekar Dewani
Gek AriniNacy Astuti Susatyo
Ensemble MembersKing Yew Chin
Elaine LawClaudia T. Gunawan
Ratu MirandaLisbeth Saputra
Benjamin ChiamAlvin
Laura RodriguezEmily MellenLauren Levy
Jingyeong SongVenno Chan
Luigi AvilaGlenn LlorenteGueinqa Lang
Mi JangChris Rorke
Derek TywoniwkJulia Karcters
Laura Jane YeeYan Lam Kwong
Derek SpivaKim Tran
Otto StuparitzTyler Yamin
Micheal ToyshiaraMatthew Clough-Hunter
Hirotaka Inuzuka
SATURDAYMay 2120167 p.m.
Music of Bali EnsembleUCLA Balinese Gamelan Sekar Anyar (New Blossom)
I Nyoman Wenten, directorNanik Wenten, guest dance director
Program
Tabuh Siwa Nata� is piece was composed by a well known Balinese musician Bapak Wayan Sinti and was inspired by the reportoire of gamelan Semar Pegulingan (court-ly gamelan orchestra).
Tari Pendet Penyambutan � e creation of this dance was inspired by the most beautiful temple dance called Rejang dance. Tari Pendet is being presented tonight to welcome and wishing goodwill to the audience.
Dancers: Weny Michelstein, Casey Lee Sims, Gek Arini, Niken Sekar Dewani, Nancy Astuti Susatyo
Tari Topeng Keras� e Topeng, or masked dance theater, has existed in Bali for several centu-ries, and remains enormously popular. It is also one of the most virtuosic of the Balinese dance forms. “Topeng keras” portrays the bold, proud, and powerful character of a prime minister.
Dancer: Nyoman Wenten
Tari Topeng TuaTopeng performance consists of introductory character study (pengelem-bar), in which the performer has a opportunity to demonstrate their skill as a dancer. “Topeng tua” portrays an old man who represents the serenity and the wisdom of the elderly as “tua” means old.
Dancer: Nyoman Wenten
Gilak Penuwud� e word “penyuwud” means ending. � is traditional piece is customarily played for the conclusion of a perpormance.
20 The Music of the Bali Ensemble program continues on the following page.
FRIDAYMay 21 2016
Music of Bali Ensemble (continued)
I Nyoman Wenten is one of Bali’s most accomplished and versatile dancers and musi-cians, who is celebrated both as a teacher and as a performer. Wenten was born in Sading village, near Bali’s capital city Denpasar, and comes from several generation of artists. He is known not only for his work in traditional Indonesian music and dance, but also for his creative east-west fusion in composition and performance work. Wenten is tra-ditionally trained Balinese musician, actor and dancer and his earlier studies were with his late grandfather who was master puppeteer, musician, dancer and educator. Wenten complemented his traditional training with formal study, graduating fi rst from Bali’s conservatory of Music and Dance in Denpasar, and from the National Dance and Music Academy in Jogyakarta, Java. He also hold a Master of Fine Arts degree from CalArts and a Ph.D. in ethnomusicology from UCLA. He has toured Europe, Asia, Australia as well as North and South America and his presentations have included lecture demonstra-tions, workshops, and performances.
His collaboration with Linda Sohl-Ellison, artistic director for Rhapsody in Taps, on the dance piece called “Nusantara,” garnered the prestigious Lester Horton Award for his musical composition for dance accompaniment. In 2003 he performed in Hong-Kong in collaboration with the Beijing Opera in adaptation of Wolfgang Amadeus Mozart’s � e Magic Flute.” In 2005, Mr. Wenten and his group Gamelan Bharata Muni (from his village Sading tha has 45 musicians and dancers) performed in several diff erent cities in Mexico.
In 2006, Wenten collaborated with playwright Mr. William Maranda from Vancouver , Canada. � e result of this collaboration was a music and dance theater production based on the Greek story Oedipus that involved 75 artists, musicians, dancers, and actors. � is work was performed successfully at the Bali Arts Festival 2006. Wenten also has produced many gamelan CDs with CMP Records Company in Germany. In 2007 and and 2009, he performed with a composer/musician David Rosenboom, dancer Nanik Wenten, and Hiroko Hojo at ISI (Indonesia Arts Institute ) in Denpasar and at Jakarta Arts Institute in Jakarta.
Most recently, Wenten has collaborated with David Rosenboom for the release of Rosen-boom’ s CDs titled, “How Much Better if Plymouth Rock Had Landed on Pilgrims.”
A performance by the Charles Mingus Ensemble follows a fi fteen-minute intermission. 21
May 21 2016
SATURDAY
Charles Mingus’s already indelible impact as a bandleader-composer-bassist was further increased when he developed the jazz workshop as a platform to advance his musical ideas. � e UCLA Charles Mingus Ensemble provides a workshop environment in which students trained in jazz, world, and classical music learn to successfully integrate compositional and improvisational musical traditions. � e Ensemble utilizes many of Mingus’s musical approaches to develop interpretations of compositions by Mingus and by other great composers from both within and outside the jazz tradition, utilizing a wide range of improvisational approaches found in jazz and in other forms of music. � e members of the Ensemble learn to adapt to numerous musical styles that employ diverse approaches to phrasing, articulation, and awareness of various rhythmical structures. Students are encouraged to contribute compositions and arrangements to the Ensemble’s repertoire.
Program
Nostalgia in Times Square Composed by Charles MingusArranged by Justo Almario
� e ChantComposed by Jelly Roll MortonArranged by the ensemble
Sue’s ChangesComposed by C. Mingus Arranged by the ensemble
Evan’s EvanescenceComposed and arranged by Cody Dear
Be Bop DriveComposed and arranged by J. Almario
Performers
Sara Sithi-Amnuaitrumpet and fl ugelhorn
Cody Dear alto and soprano
saxophones
Michael Liaotenor saxophone
Grant Millikanvibraphone
Nashir Janmohamedbass
Brandon Bridgesdrums and percussion
Joel Mandukedrums
Charles Mingus EnsembleJames W. Newton, director (fall/winter) Justo Almario, director (spring)
22 The Charles Mingus Ensemble program continues on the following page.
May 21 2016
SATURDAYCharles Mingus Ensemble (continued)
Composer-fl utist-conductor James W. Newton is one of the world’s true fl ute virtuosos in numerous musical idioms. His compositional work encompasses chamber, symphonic, and electronic music genres; compositions for ballet and modern dance; and numerous jazz and world music contexts. Newton has been the recipient of many awards, fellowships, and grants, including Guggenheim and Rockefeller Fellowships, the Montreux Grand Prix Du Disque, and Downbeat International Critics Jazz Album of the Year, and has also been voted the top fl utist for a record-breaking twenty-three consecutive years in Downbeat Magazine’s International Critics Poll. Newton is also the recipient of a 2009 UCross Fellowship. Described as a musician’s renaissance man, Newton has performed with and composed for many notable artists in the jazz and classical fi elds, including Mingus Dynasty, Buddy Collette, the New York Philharmonic, David Murray, Anthony Davis, Aurèle Nicolet, Donald McKayle, Vladimir Spivakov and the Moscow Virtuosi, Sir Roland Hanna, San Francisco Contemporary Music Players, Jose Limon Dance Company, Bennie Maupin, Cecil Taylor, the Los Angeles Master Chorale, John Carter, Andrew Cyrille, the New York New Music Group, Red Callender, Southwest Chamber Music, Bobby Hutcherson, Dino Saluzzi, Zakir Hussain, San Francisco Ballet, Jon Jang, Kenny Burrell, Herbie Hancock, � e Ear Unit, Frank Wess, Emmanuel Pahud, Stevie Wonder, and the Los Angeles Philharmonic New Music Group.
A native of Colombia, reedman, clinician, composer, and arranger Justo Almario has fused Latin, Afro-Cuban, South American, funk, and jazz genres into his own humble off ering. He studied at the prestigious Berklee College of Music before a stint with Mongo Santamaria as the band’s musical director. Almario has performed with Patrice Rushen’s Grammy Awards Orchestra, Freddie Hubbard, Roy Ayers, George Duke, Tito Puente, Machito, Dave Grusin, Ndugu Chancler, Alex Acuña, Abraham Laboriel, TOLU, Donald Vega, Harold Land Jr., Al McKibbon, Master P, Bebe Winans, Queen Latifah, Charles Mingus, Chaka Khan, Linda Rondstadt, Herb Alpert, Bobby Shew, John Heard, Lorca Hart, Billy Higgins, Jose Rizo’s Jazz on the Latin Side All-Stars, and many others. A multi-instrumentalist of the highest caliber, Almario has mastered the soprano and tenor saxophones, clarinet, and fl ute. He thoroughly engages his listeners with rhythmic call-and-response interludes. John Coltrane, Cannonball Adderly, Antônio Carlos Jobim, Bach, Bartók, and Debussy are among his primary infl uences.
Almario also has experience as an educator: he taught saxophone at California State University, Los Angeles from 2006 through 2008 and has taught in clinics throughout the United States and in Sweden, Brazil, Colombia, Mexico, and Puerto Rico. He has taught at the Henry Mancini Institute, mentored youth during workshops at the World Stage in Los Angeles, and taught students privately for over twenty years. In 1992, while joining the ranks of Cedar Walton, Terrence Blanchard, and Joe Lovano, Almario was an integral part of the Newport Jazz Festival Tour, produced by George Wein. Two years later, four of the recordings on which Almario was featured earned Grammy nominations, and Andrae Crouch’s Mercy and Cachao’s Master Sessions Volume 1 were Grammy winners. Almario’s latest CD Love � y Neighbor features his quartet playing original compositions as well as rare standards. Justo was the featured soloist with the Los Angeles Master Chorale at Walt Disney Hall’s season opener and also performed at the Christmas concert, Celebrar, at the same venue. Finally, Justo’s stellar career was recently celebrated during a segment of World Stage Stories, a comprehensive oral history series that chronicles the evolution of jazz.
A performance by the Thelonious Monk Institute of Jazz Performance follows a brief pause. 23
SATURDAYMay 21 2016
� e Sphere Project is a series of musical works that brings together members of the � elonious Monk Institute of Jazz Performance Ensemble at the UCLA Herb Alpert School of Music with students from the Departments of Music and Ethnomusicology. Compositions are created collaboratively with guidance and direction from Institute Artists-in-Residence Herbie Hancock, Wayne Shorter, Billy Childs and others.
All works feature the � elonious Monk Institute of Jazz Performance Ensemble.
Program
Gaiafeaturing: Anna Kouchnerov, violin Stephanie Spencer, violin Julien Altman, viola Youjin Ko, cello (pending confi rmation) David Castañeda, latin percussion Will Matczynski, west african percussion Ganavya, voice (Carnatic/jazz)
I Lost My Wordsfeaturing: Anna Corcoran, violin Stephanie Spencer, violin Julien Altman, viola Albert Agha, oud Rachel O’Connor, french horn
Near East Jazz Suitefeaturing: Albert Agha, oud Anna Kouchnerov, violin Stephanie Spencer, violin
� elonious Monk Institute of Jazz Performance Ensemble
Michael Mayovoice
David Otis soprano and alto sax
Daniel Rotem tenor sax
Ido Meshulam trombone
Carmen Staaf piano
Alex Boneham bass
Christian Euman drums
The Thelonious Monk Institute of Jazz Performance at the UCLA Herb Alpert School of Music presents
The Sphere Project
24
SUNDAYMusic of México EnsembleJesús “Chuy” Guzmán, director Logan Clark, assistant director
� e Music of México Ensemble features mariachi music in a variety of musical styles from various regions of Mexico, including son jalisciense, son huasteco, bolero, ranchera, and huapango. � is performance course is designed to familiarize and expose musicians to the repertoire, technique, and musical styles of the mariachi tradition. � e Music of México Ensemble, originally called “Uclatlán,” was formed in 1961 by graduate student Donald Borcherdt, making it the fi rst academic mariachi group in the world. Since the early 1960s, the ensemble has held an important legacy in the transmission of mariachi music in the United States.
Mariachi music became a symbol of Mexico in the 1930s, when it was featured throughout fi lm and radio in order to promote Mexican identity. � e word “mariachi” represents the individual musician, the genre of music, and the entire ensemble. During the War of Independence in 1810, mariachis were identifi ed with rural and indigenous characteristics such as the traje de manta, an outfi t of coarse cotton (individual musician); a rustic percussive sound (genre of music); and stringed instrumentation (the entire ensemble)—all of which had anti-colonial symbolic meaning. After the Mexican Revolution of 1910, however, all three characteristics changed. In its contemporary sense, mariachi became defi ned by the traje de charro, a formal cowboy suit, as worn by the Ensemble today(individual musician); the sound and song forms (genre of music); and its instrumentation (the entire ensemble).
Program
“El Cuatro” (Son Jalisciense) Mariachi de Uclatlán Singer: Fabian Narez
“La Calandria” (Huapango) Mariachi de Uclatlán Singer: Elisa Quiñonez
“Tú y las Nubes” (Ranchera) Music of Mexico Class Singer: Lupita Infante
“Cien Años” (Bolero) Music of Mexico Class Singers: Stefan Ecklund and Carrie Meza
“Las Mañanitas” (Ranchera) Music of Mexico Class
May 2220167 p.m.
The Music of México Ensemble program continues on the following page. 25
Popurrí: “Un Viejo Amor” Singer: Logan Clark“Un Madrigal” - Singer: Ariana Quiñonez“Borachita” - Singer: Gabriela Gaxiola Mariachi de Uclatlán
“Ojitos Verdes” (Polca) Mariachi de Uclatlán Singer: Elisa Quiñonez
“Dos Arbolitos” (Huapango) Mariachi de UclatlánTrío: Pauline Arriaga, Gabriela Gaxiola, Elisa Quiñonez
“Canción Mixteca” (Ranchera) Music of Mexico Class Singers: Cecilia Arevalos, Carrie Meza
Program continues on next page
Music of México Ensemble (continued)
SUNDAYMay 222016
Music of Mexico:
26 A performance by the Music of Cuba Ensemble follows a fi fteen-minute intermission.
Cecilia Arevalos, Heesun Bang, Kevin Bok, Jessie Chan, Hongling Felicity Chen, Junhan Chen, Seunghui Cho, Hosuk Chung, Hye Soo Chung, Naim Dehghani, Ste-fan Ecklund, Casandra Gomez Alvarado, Min Young Jeon, Jong Hyun Jin, Sol Jin, Daisy Kim, Phillip Kim, Richard Kim, Soo Hyun Kwak, Soon Ik Kwon, Yue Lan, Emily Lee, Joongho Lee, Jason Lew, Fiona Li, Yongchang Li, Andrew Lu-pian, Siyuan Ma, Carrie Meza, Jin Namgung, Ki Hyun Park, Manuel Ramirez, Kwai Hung Shea, Daniel Tran, Andy Wu, Dingrui Xue, Sophia Yang, Siyang Shirley You, Lanxin Angela Zhang.
Logan Clark, Ph.D., Ensemble AssistantLogan Clark is a Ph.D. Candidate in Ethnomusicology, with research focusing on Mayan music. She has played guitar with the Music of Mexico ensemble and Mariachi de Uclatlán for six years”
Alejandro Ascencio, Gerardo Ascencio, Pauline Arriaga, Taña Barajas, Jarvis Chang, Logan Clark, Stefanie Espi-noza, Gabriela Gaxiola, Lupita Infante, Fabian Narez, Chris-tian Ortiz, Ariana Quiño-nez, Elisa Quiñonez, Adrian Rendon, Juan Rivera, Julio Rodriguez, Teresa Ruvalcaba, Rolando Villa.
Mariachi de Uclatlán:
Jesús “Chuy” Guzmán, Instructor Widely recognized as a Grammy Award-winning arranger, director, instructor, and musician in the genre of Mexican mariachi music, Jesús “Chuy” Guzmán is the musical director of Mariachi Los Camperos De Nati Cano. For over 20 years, Mr. Guzmán has served as head instructor for numerous international mariachi festivals in the United States and Mexico in addition to his teaching positions at UCLA and the City of San Fernando’s Mariachi Masters Apprentice Program (MMAP). Guzmán has collaborated with the Symphony Orchestra of Jalisco, Mariachi Vargas de Tecalitlan, and Linda Ronstadt, including arranging and recording the music for her Grammy Award-winning album “Canciones de mi Padre.”
Program, cont.
“Amor Chiquito” (Pasodoble)Music of Mexico Class
“El Caballito” (Son Jalisciense) Music of Mexico Class
Popurrí: “Los Arrieros,” “Las Olas” (Son Abajeño) Mariachi de Uclatlán
“El Herradero” (Polca) Mariachi de Uclatlán Singer: Elisa Quiñonez
“Mucho Corazón” (Bolero) Mariachi de Uclatlán Singer: Lupita Infante
“La Negra” (Son Jalisciense) Music of Mexico Class
May 22 2016
SUNDAY
27
Los Hermanos Arango
Program to be announced Los Hermanos Arango hail from Guanabacoa, a municipality in Cuba characterized by a high level of musical and afro-religious tradition. � e group was created in 2003 by world-renown bassist Feliciano Arango (Emiliano Salvador, NG la Banda, Maraca, etc.) and his siblings (percussionist Eugenio, guitarist Ignacio, and vocalist Cristina) as a result of the increasing popularity of the musical concept expressed in their frst album “Oro Negro.” � is concept involves the seamless combination of Afro-Cuban folklore and funkifi ed jazz, which renders a new genre: Folklo-Jazz. � e instrumental format integrates harmony (piano and guitar), percussion in the form of an authentic battery of batás (ancient afro-folkloric drums) and horns (trumpet and sax). So far, Los Hermanos Arango have released four albums and one documentary DVD, and have performed in the USA (e.g., Berklee College of Music, Dizzy’s Jazz San Diego), Mexico (e.g., Morelia International Festival), Italy (e.g., Fandango Jazz Festival), and Canada (Ottawa Blues Fest).
The Irish Music Ensemble program continues on the following page.
UCLA Jazz Combosdirected by Kenny Burrell, George Bohanon, Clayton Cameron, Charley Harrison, Charles Owens, and Michele Weir; with special guests, the Thelonious Monk Institute of Jazz Performance Ensemble
MONDAYMay 2320167 p.m.
J C F │ Directed by Charles OwensNicholas Henry – alto/tenor saxRiley Cooke – trumpetBen Statz – pianoCole Brossus – bassEllington Peet – drums
J C S │ Directed by George BohanonSam Robertson – accordion/piano Patrick Gardner – acoustic/electric basses Ethan Opdahl – guitar Duke Anderson – drums Riley Cooke – trumpetRyan Sanders – alto saxophone/fl ute
J C T │ Directed by Kenny BurrellDonnie Laudicina – guitarSatya Fuentes – pianoMartin Martiarena – bassAmanda Albini – drums and vocals
J C O (V) │ Directed by Michele WeirSingers: Ryan Nealon, Sahara Grim, Jake Augustinewith J C T
Special Guests:T M I J P E Michael Mayo – vocalsDavid Otis – alto saxDaniel Rotem – tenor saxIdo Meshulam – tromboneCarmen Staaf – pianoAlex Boneham – bassChristian Euman – drums
J C S │ Directed by Charley HarrisonCharley Harrison
Jade Elliott – alto SaxJack Bastian – pianoCole Brossus – bassNick Velez – drums
J C F │ Directed by Clayton CameronMartin Lejano – trumpet
Austin Gatus – alto saxKishan Patel – tenor sax
Ryan Glatt – pianoMartin Martiarena – bass
Ram Eshwar Kaundinya – tablaMatan Goldfi ll – drums
G C │ Directed by Kenny BurrellCody Dear – alto sax
Hugo Shiboski – tenor saxDonnie Laudicina – guitar
Jack Bastian – pianoNashir Janmohamed – bass
Joel Manduke – drums
J C T │ Directed by Kenny BurrellMax Kim – baritone sax
Cole Riddle – pianoRamin Abrams – bass
Jordan Jay Ross – drums Oliver Taylor – trumpet
28
Performances by the UCLA LatinJazz Big Band and the UCLA Jazz Orchestra follow a brief pause. 29
TUESDAYMay 24 20167 p.m.
UCLA Big BandsThe UCLA Ellingtonia Orchestra, directed by Kenny Burrell
The UCLA LatinJazz Big Band, directed by Dr. Bobby RodriguezThe UCLA Jazz Orchestra, directed by Charley Harrison
S Austin Gatus, altoAlonso Pirio, altoLance Chu, tenorBrian Kim, tenor
Max Kim, baritone
TRiley Cooke
Austin VillegasJesus MontesOliver Taylor
The UCLA Ellingtonia Orchestra began in the fall of 2012 under the directorship of Kenny Burrell. Repertoire for the orchestra is essentially from the music known as Ellingtonia. � is huge body of music is the result of written and improvised music and the vast number of recordings produced by Duke Ellington and his orchestra. � e music of Ellingtonia also contains important contributions from other composers and arrangers such as Louie Bellson, Gerald Wilson, Juan Tizol, Mary Lou Williams, Luther Henderson, and Billy Strayhorn. � e music of Ellingtonia is fi lled with a variety of traditional and experimental musical elements that has had a profound impact on music of the twentieth and twenty-fi rst centuries.
T Jad TotahSalvador Hernandez
B TCameron Rahmani
PJoe Davies
B Martin Martiarena
D/PAmanda Albini
Program to be announced from the stage.
30 A performance by the UCLA Jazz Orchestra follows a brief pause.
UCLA Big Bands (continued)
TUESDAYMay 24 2016
SAlto Saxophone: Ernesto Rojar, Julio Dominguez
Tenor Saxophone: Michael Lao, Swati Swan Baritone Saxophone: Max Kim
TPaul Stocker, Will Griffi th, Lauren Chu, Cell Ferguson
TJesus Montez, Austin Villegas, Riley Cooke, Taylor
Smith
In 2000, when Kenny Burrell, legendary jazz guitarist and director of jazz studies at UCLA, invited Dr. Bobby Rodriguez to create a LatinJazz group, no one would have thought that within such a short time this group would become such a powerhouse.
The UCLA LatinJazz Big Band is a 22-piece group that includes four trumpets, four trombones, fi ve saxophones, piano, bass, drum set, guitar, and a Latin percussion section of conga, bongo, and hand percussionists. � is ensemble of talented students has become very popular through performances on and off campus. As Dr. Bobby says, “Our music is so danceable and fun, we have been very fortunate to perform at some very big events such as the UCLA Reggae Festival, graduation banquets and various parties.” � rough the vision of Kenny Burrell and the continuing eff ort by Dr. Rodriguez, the UCLA LatinJazz Big Band has become one of the premiere collegiate groups in Southern California.
PRyan Glatt
GMatt Saunders, Kyle Andrew Frankhuizen
BKate Deff ebah, Cole Brossus
DAmanda AlbiniPBrandon Bridges, Melena
Program to be announced from the stage.
W Jade Elliott (alto sax), Liam Collins (alto sax), Kishan Patel (tenor sax), Nicholas Henry (tenor sax), Max Kim (baritone sax, bass clarinet)
TMartin Lejano, Jacob Koransky, Riley Cooke, Oliver Taylor
TMarc Bolin, Sam Marton, Josiah Morales, Tommy Gibson
GNate Schwartz
PJack Bastian
BCole Brossus
DNick Velez
VRyan Nealon
31
TUESDAY
The UCLA Jazz Orchestra is directed by Charley Harrison.
May 24 2016
UCLA Big Bands (continued)
Program
“Strike Up the Band”Composed by George Gershwin
Arranged by Sammy Nestico
“Well, You Needn’t”Composed by � elonious Monk
Arranged by Mark Taylor
“To You” Composed and Arranged by � ad Jones
“Red Buttermilk”Composed and Arranged by Billy Byers
Arranged by Gerald Wilson
“Jeannine”Composed by Duke Pearson
Lyrics by Oscar Brown, Jr. Arranged by Charley Harrison
“Sister Sadie”Jimmy Giuff re
Composed by Horace Silver Arranged by Mike Pendowski
32
� e UCLA Herb Alpert School of Music, Department of Ethnomusicology grew out of the former Institute of Ethnomusicology, established by Mantle Hood at UCLA in 1960. In its early years many distinguished scholars, including Charles Seeger and J. H. Kwabena Nketia, collaborated in advancing the vision of the Institute. From the 1960s to 1989 Ethnomusicology was a program within the Department of Music. In 1989 it became an independent department, called the Department of Ethnomusicology and Systematic Musicology. In 1995 it was renamed the Department of Ethnomusicology. In 2007 Ethnomusicology became one of three departments, with Music and Musicology, to comprise the UCLA Herb Alpert School of Music. Made possible through the generosity of the renowned performer, producer, and philanthropist Herb Alpert and his wife Lani Hall Alpert, the UCLA Herb Alpert School of Music is devoted to the performance and study of music in all of its global diversity, including world music, popular music, jazz and classical music.
One of the guiding principles of UCLA’s ethnomusicology program was Mantle Hood’s concept of “bi-musicality,” whereby students would learn about a musical culture diff erent from their own by actually playing the music on the appropriate instruments, as opposed to passively learning about the music by reading or observation. To this end, Hood developed an outstanding collection of musical instruments from many areas of the world. Certainly one of the largest university-owned collections in existence, it contains examples from such diverse geographical and cultural regions as North and South India; the Indonesian traditions of Bali, Java, Sunda, and Badui; the major classical ensembles of � ailand; folk instruments from Burma and Vietnam; and the traditions of China, Japan, and Korea, among others. Hood also brought in experts in the music of these traditions to teach the students and to lead the world music performance ensembles. In 1960, the fi rst spring festival of world music was held at UCLA. Titled “Festival of Oriental Music and the Related Arts,” this fi rst festival featured performances by the Music of Persia Ensemble, the Music of Japan Ensemble, the Music of Java Ensemble, the Music of China Ensemble, the Music of Bali Ensemble, and the Music of India Ensemble, and also included lectures and fi lms. Over the years the ensembles have changed, but the tradition continues. In 2007, we added the jazz concerts to the festival lineup.
In 1996 jazz studies was instituted as a concentration within the undergraduate major. Jazz studies at UCLA has the goal of producing students who graduate as outstanding jazz performers with a strong academic foundation. � e program is interdisciplinary in nature and administered by the Department of Ethnomusicology. Upon graduation, jazz studies students receive a Bachelor of Arts degree and are prepared to enter a diverse range of careers, including work in jazz performance, composition, arranging, research, and teaching. � e jazz studies director, jazz legend Kenny Burrell, oversees a faculty of world-renowned jazz artists. � eir outstanding musicianship and many years of experience create a comprehensive jazz curriculum taught by dedicated teachers. With these resources and UCLA’s location in a city that is one of the world’s most active centers for jazz, UCLA jazz studies has become one of the most important centers for jazz training in the United States.
The UCLA Herb Alpert School of Music, Department of Ethnomusicology
Giving to Ethnomusicology at UCLAIn our classrooms and studios and on our stages, our students prepare themselves to harness the transformative power of the arts. By supporting the Department of Ethnomusicology, you empower this class of optimists by:
• providing scholarships and fellowships—so that top students can attend UCLA regardless of their ability to pay, • outfi tting classrooms and labs with state-of-the-art equipment so that students have the best tools for their craft, and • bringing renowned musicians and scholars to UCLA to share their talents with students in lectures and master classes.
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You may make a secure gift online at: www.arts.ucla.edu/giving or through the department’s website at: http://ucla.in/16w2jRI. You can also mail this completed form to � e UCLA Foundation, PO Box 7145, Pasadena, CA 91109-9903.For further giving information, contact Vincent Cummings, Deputy Director, External Aff airs, School of the Arts and Architecture: 310.825.2512 or [email protected].
