mixed1

Canadian composer Howard Bashaw’s sound-art performance installation The Resonance Prism was premiered in 2014 in a concert event entitled Sound Space Architecture in the University of British Columbia’s Centre for Interactive Research on Sustainability. Performers were required to both realize the specific material presented in the score and generate imaginative, inspired improvisations. The chosen venue functioned metaphorically as a prismatic enclosure, refracting and transforming light into complex and layered dimensions of color, time and sound. With this work, Bashaw abandons the constraints of traditional music notation for innovative possibilities inherent within graphic notation and visual symbols. The viewer is invited to experience this collision between music and art and to imagine the translation of this graphic score into sound.

img_6871

The Resonance Prism contains ten contrasting sequenced movements that are each separated in the form of a graphic collage, where the conductor combines and recombines a range of components during the performance through layering and evolving. Accompanying each collage is a visual statement that is projected during the performance and viewed simultaneously by the performers and the audience. These images facilitate the performance and evokes various sonic images in the minds of the audience, creating a dynamic engagement between the conductor, the audience, and the performers.

img_6867

Artist’s Statement- Howard Bashaw

“Although not new, ‘sound, space and architecture’ certainly endures as an alluring compositional challenge. I began by imagining the atrium as an enormous prism; one that reflects natural light (metaphorically speaking) into new broad, successive regions: the first containing various manifestations of colour and harmony, and the second, various manifestations of rhythm and pattern. The score is designed specifically to inspire more so than to prescribe, and therefore takes form as ten full-colour, highly-detailed graphic collages. It uses specific pitch-color correlations throughout, and, in extension, incorporates the natural spectrum as the fundamental, organizing principle for the entire work. The ensemble is divided into three groups: the background source spectra (electronics); the middle-ground transitional spectra (percussion and electric guitar), and the foreground antiphonal spectra (three spatialized choirs: winds, brass and strings). The conductor functions as a dynamic collaborator, interpreting and shaping the wood anew with every performance.”

Graphic Scores

Bashaw shows how art and music are colliding in the 21st century with the use of musical notations in his graphic scores. Artists and musicians can now experiment with musical notations to create beautiful visual scores as modern works of art. This becomes a performance installation that provides a different experience to the audience than the traditional concert style performance.

img_6879

American Musicological Society

The exhibition coordinates with the American Musicological Society‘s joint conference with Society for Music Theory held at the Sheraton Vancouver Wall Centre Hotel. The AMS was founded in 1934 as a non-profit organization to advance “research in the various fields of music as a branch of learning and scholarship”. In 1951, the Society  became a member of the American Council of Learned Societies. Today, the society currently has 3,500 members and 1,000 institutional subscribers from forty different nations.

The American Musicological Society and the Society for Music theory bring together academics, graduate students and other professionals specializing in musicology and music theory. This joint conference marks the largest single gathering of participants in the field of music and humanities in the world this year. This conference marks the eightieth-second meeting for the AMS and thirty-ninth annual event for the SMT. The event will provide attendees an opportunity to a wider network, share knowledge, and explore new directions in music research and practice. The event has scheduled over 350 presentations, a number of large performances, small meetings, receptions, and other exciting events.

Register: Registration rates for regular members before October 28th are $135 and $75 for members who are students or retired. Non-member registration fees are $225 and $135 for non-members who are students or retired.

The exhibition will take place from Tuesday, November 1st to December 28th, 2016.


UBC Library Research Guides

Music

Graphic Scores Banner

Canadian composer Howard Bashaw’s sound-art performance installation The Resonance Prism was premiered in 2014 in a concert event entitled Sound Space Architecture in the University of British Columbia’s Centre for Interactive Research on Sustainability. Performers were required to both realize the specific material presented in the score and generate imaginative, inspired improvisations. The chosen venue functioned metaphorically as a prismatic enclosure, refracting and transforming light into complex and layered dimensions of color, time and sound. With this work, Bashaw abandons the constraints of traditional music notation for innovative possibilities inherent within graphic notation and visual symbols. The viewer is invited to experience this collision between music and art and to imagine the translation of this graphic score into sound.

img_6871

The Resonance Prism contains ten contrasting sequenced movements that are each separated in the form of a graphic collage, where the conductor combines and recombines a range of components during the performance through layering and evolving. Accompanying each collage is a visual statement that is projected during the performance and viewed simultaneously by the performers and the audience. These images facilitate the performance and evokes various sonic images in the minds of the audience, creating a dynamic engagement between the conductor, the audience, and the performers.

img_6867

Artist’s Statement- Howard Bashaw

“Although not new, ‘sound, space and architecture’ certainly endures as an alluring compositional challenge. I began by imagining the atrium as an enormous prism; one that reflects natural light (metaphorically speaking) into new broad, successive regions: the first containing various manifestations of colour and harmony, and the second, various manifestations of rhythm and pattern. The score is designed specifically to inspire more so than to prescribe, and therefore takes form as ten full-colour, highly-detailed graphic collages. It uses specific pitch-color correlations throughout, and, in extension, incorporates the natural spectrum as the fundamental, organizing principle for the entire work. The ensemble is divided into three groups: the background source spectra (electronics); the middle-ground transitional spectra (percussion and electric guitar), and the foreground antiphonal spectra (three spatialized choirs: winds, brass and strings). The conductor functions as a dynamic collaborator, interpreting and shaping the wood anew with every performance.”

Graphic Scores

Bashaw shows how art and music are colliding in the 21st century with the use of musical notations in his graphic scores. Artists and musicians can now experiment with musical notations to create beautiful visual scores as modern works of art. This becomes a performance installation that provides a different experience to the audience than the traditional concert style performance.

img_6878

American Musicological Society

The exhibition coordinates with the American Musicological Society‘s joint conference with Society for Music Theory held at the Sheraton Vancouver Wall Centre Hotel. The AMS was founded in 1934 as a non-profit organization to advance “research in the various fields of music as a branch of learning and scholarship”. In 1951, the Society  became a member of the American Council of Learned Societies. Today, the society currently has 3,500 members and 1,000 institutional subscribers from forty different nations.

The American Musicological Society and the Society for Music theory bring together academics, graduate students and other professionals specializing in musicology and music theory. This joint conference marks the largest single gathering of participants in the field of music and humanities in the world this year. This conference marks the eightieth-second meeting for the AMS and thirty-ninth annual event for the SMT. The event will provide attendees an opportunity to a wider network, share knowledge, and explore new directions in music research and practice. The event has scheduled over 350 presentations, a number of large performances, small meetings, receptions, and other exciting events.

Register: Registration rates for regular members before October 28th are $135 and $75 for members who are students or retired. Non-member registration fees are $225 and $135 for non-members who are students or retired.

The exhibition will take place from Tuesday, November 1st to December 28th, 2016.


UBC Library Research Guides

Music

joshua-van-lieu-1-768x461

Chosŏn and Qing discussions of their relationship from the mid-1870s to the early 1880s suggest strategic understandings of existing institutions and their limitations as informed by the rapidly changing geopolitical, economic, and technological geographies of the day. Indeed, the debates of this period produced a new vision of the Qing-Chosŏn relationship that would have eliminated large swaths of tributary practice in an effort to enable Chosŏn to participate in the currents of the global modern on its own terms and thereby become a strong albeit junior partner of the Qing Empire in world affairs. This future of bounty and vitality, however, was to become a vision doubly lost, first by virtue of Qing military occupation and political interventions and then again through generations of occidentalist elision in the fields of history and IR alike. This paper recovers this vision with particular attention to its embrace of the global modern as a move toward a critical pluralism that creates disciplinary dialogues between history and critical IR. This is part of One Asia Forum’s Talk Series which will also feature guest speaker Professor Joshua Van Lieu from LaGrange College.

one-asia-forum-talk-sires-768x427

Event Details

Date and Time: November 17, 2016 4:00-6:00 pm

Where: Irving K. Barber Learning Centre Room 461

About the speaker: Dr. Van Lieu is a historian of early modern and modern East Asian politics, thought, and international relations. He received his doctoral degree from the University of Washington in the histories of Chosŏn Korea and Late Imperial China. Having served as assistant editor and book review editor of The Journal of Korean Studies, Dr. Van Lieu currently is an assistant professor and the Curriculum Director for Asian Studies at LaGrange College.  He has published on nineteenth-century Qing-Chosŏn tribute politics, the historiography of reform movements in late Chosŏn Korea, the roles of state Guanti cults in Ming, Qing, and Chosŏn narratives of state legitimacy, and critical approaches to historical international relations.


This event is open to public.

a-very-1-768x384TomoeArts will be screening a series of full live video performances from their Shôchiku’s Kabuki Meisakusen Series at the I. K Barber Learning Centre. The performances feature several talented onnagata (female role) actors such as Nakamura Jakuemon IV (1920-2012) and Bandô Tamasaburô. All screenings will be held at the I. K Barber Learning Centre in Chilcotin Room, room 256.

Sumidagawa: The Sumida River

When: Monday October 17,2016salonsumidagawa 7:00-8:30 pm

The first screening is the moving dance play Sumidagwa (The Sumida River), featuring Kiyomoto style music and was first premiered in 1919. The performance follows a desperate woman from Kyôto searching for her lost son. Her journey brings her to the banks of the Edo’s Sumida River where she encounters a boatman to take her across the river in search for her son. This role, played by Nakamura Jakuemon IV, is considered one of the most challenging female roles in kabuki.

Akoya-The Courtesan Akoya

When: Monday January 23, 2017 7:00-8:30 pm

salonakoya-360x240  Akoya is a scene from the puppet play Dan no Ura Kabuto Gunki which first premiered in 1732 and was later restaged as a kabuki play. This scene, originally known as the “Koto Torture Scene”, shows Shigetada questioning the courtesan Akoya on where her lover, the defeated Heike warrior Kagekiyo, is. Shigetada forces Akoya to answer his questions while she plays various traditional Japanese instruments such as the koto, shamisen and kokyû (lap fiddle). The actor who plays Akoya requires years of special training to be able to play all three musical instruments on stage for this performance.

 

Ninin Dôjôji-The Two Maidens at the Dôjô Templesalonninindojoji-360x239

When: Monday March 13, 2017 7:00-8:30 pm

This performance shows the two-dancer version of the famous play, Musume Dôjôji, where the double spirit of Kiyohime comes to the Dôjô temple as shirabyôshi dancers, Hanako and Sakurako. Their jealous serpent-selves are revealed as they destroy the bell that once hid their lover who ran away from them.

Tomoe (pronounced toh-moh-ay) Arts is a company based in Vancouver, Canada that promotes, teaches, and performs nihon buyoh or Japanese classical dance. They also create and present performances incorporating the forms and aesthetics of Japanese traditional performing arts. Visit TomoeArts to learn more.


All entrance is free and there will be English commentary provided at all recordings. The nearest parking for the I. K Barber Learning Centre are the Rose Garden and North Parkades. Parking at UBC is $7 after 5pm. Find other parking on campus here.

life-science-institute-public-talk1A Life Sciences Institute Public Talk

Join us for a free discussion with a panel of experts who will explain what personalized medicine can tell you about your potential for heart health issues, and how doctors and researchers in British Columbia are collaborating to identify your risks, detect early warning signs and deliver individualized treatments. Learn how implementation of personalized medicine into BC healthcare can change clinical practice, improve health outcomes, and reduce health costs. This event will include a brief presentation from each panelist, followed by Q & A with the audience.

When: Tuesday, November 15, 2016

Time: 6-8 pm

Location: The Orpheum Annex- 823 Seymour Street, Vancouver BC

Panelists:

Dr. Andrew Krahn, Sauder Family and Heart and Stroke Foundation Chair in Cardiology

Dr. Andrew Penn, Director, Stroke Rapid Assessment Unit, Victoria General Hospital

Dr. Filip Van Petegem, Professor, UBC Department of Biochemistry & Molecular Biology

The Talk will be moderated by Elaine Yong, Senior Communications Specialist, Media Relations, for Providence Healthcare & hosted by Dr. Pieter Cullis, Director, UBC Life Sciences Institute.


This is a free event and walk-ins are welcome. However, space is limited so please click here to register.

For more information on heart health, please visit the Heart and Stroke Foundation website. For those interested the discussion document entitled Roadmap for Bringing Personalized Medicine to British Columbians is available for download here {PDF}.

joshua-van-lieu-1-768x461

Chosŏn and Qing discussions of their relationship from the mid-1870s to the early 1880s suggest strategic understandings of existing institutions and their limitations as informed by the rapidly changing geopolitical, economic, and technological geographies of the day. Indeed, the debates of this period produced a new vision of the Qing-Chosŏn relationship that would have eliminated large swaths of tributary practice in an effort to enable Chosŏn to participate in the currents of the global modern on its own terms and thereby become a strong albeit junior partner of the Qing Empire in world affairs. This future of bounty and vitality, however, was to become a vision doubly lost, first by virtue of Qing military occupation and political interventions and then again through generations of occidentalist elision in the fields of history and IR alike. This paper recovers this vision with particular attention to its embrace of the global modern as a move toward a critical pluralism that creates disciplinary dialogues between history and critical IR. This is part of One Asia Forum’s Talk Series which will also feature guest speaker Professor Joshua Van Lieu from LaGrange College.

one-asia-forum-talk-sires

Event Details

Date and Time: November 17, 2016 4:00-6:00 pm

Where: Irving K. Barber Learning Centre Room 461

About the speaker: Dr. Van Lieu is a historian of early modern and modern East Asian politics, thought, and international relations. He received his doctoral degree from the University of Washington in the histories of Chosŏn Korea and Late Imperial China. Having served as assistant editor and book review editor of The Journal of Korean Studies, Dr. Van Lieu currently is an assistant professor and the Curriculum Director for Asian Studies at LaGrange College.  He has published on nineteenth-century Qing-Chosŏn tribute politics, the historiography of reform movements in late Chosŏn Korea, the roles of state Guanti cults in Ming, Qing, and Chosŏn narratives of state legitimacy, and critical approaches to historical international relations.


This event is open to public.

Open Access is a movement encouraging the removal of barriers to scholarly research so that scholarly work is accessible to people everywhere. Access is available to everyone: students, policy makers, health care workers, professionals, educators, scholars in the developing world, and the public.

Open Access Publishing

Publishing Open Access provides researchers with a way to share their findings with scholars and students worldwide while protecting their authors’ rights and is increasingly a requirement of funding organizations. Learn how to make your research openly available here.

Open Education

Open Education allows educators to share, manage and use education resources such as open textbooks, lesson plans, quizzes, videos, interactive activities and presentations. Access UBC’s Open Education repositories here. Open textbooks are openly licensed resources that are available online to be freely used by students, teachers, and members of the public. Access Open Textbooks here.

Open Collections

Open Collections is a publicly-accessible collection of digital photos, books, newspapers, maps, videos, theses and more. Access UBC’s Open Collections here.

This year, there will be two Open Access events happening at the Irving. K. Barber Learning Centre.


Event Details

Adopting Open Textbooks and Resrouces: TLEF Support Possibilities

This session will explore how open textbooks and open education resources are already being used for teaching and learning at UBC, how TLEF grants could be used to help integrate open resources into your course, and the process for applying for a TLEF.

Date: October 24, 2016

Time: 11:00 am-1:00 pm

Where: Irving K. Barber Learning Centre, Seminar (Room 2.22 A/B)

Register here.

Engaging Students with Open Scholarly Practice

This session explores ideas of scholarly practice in the digital age and how they can inform teaching and learning. How has scholarly practice changed and what are the possibilities that open practices and platforms provide when students and faculty members become co-creators in meaningful, generative work?
We’ll look at emerging practices at UBC that are supporting the use of open platforms to align classrooms with scholarly practice.

Date: October 27, 2016

Time: 11:00 am- 1:00 pm

Where: Irving K. Barber Learning Centre, Lillooet Room 301

Register here.


For more about Open Education resources and practices at UBC visit open.ubc.ca.

a place of mind, The University of British Columbia

UBC Library

Info:

604.822.6375

Renewals: 

604.822.3115
604.822.2883
250.807.9107

Emergency Procedures | Accessibility | Contact UBC | © Copyright The University of British Columbia

Spam prevention powered by Akismet