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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.

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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.

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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.

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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

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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.

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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.

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}.


The Archives Association of British Columbia (AABC) and the Irving K. Barber Learning Centre are pleased to present a livestream webcast roundtable as a follow-up to the 3-day workshop on Digital Preservation Management. They will share strategies and tools from the workshop and discuss the steps required to develop an effective digital preservation program.

November 17, 2016, 10:00am – 12:00pm at the Lillooet Room (Rm 301)

Irving K. Barber Learning Centre 

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Participants from the workshop will join the conversation and discuss how they are working towards implementing what they learned to manage the digital records in their archives.

The AABC would like to invite students to take part in the roundtable by joining them in person or following them on the live web broadcast. Details on how to send in comments and questions via email and twitter will be posted closer to the date.

If you would like to join the AABC in person at the roundtable, please RSVP to aabc.advisor@aabc.ca by Monday, November 14.


The Archives Association of British Columbia’s previous webcasts included:

Taming the Beast with Metadata

Future of RAD (Rules of Archival Description)

Outreach, Fundraising, and Donor Relationships

Orphan Photographs

a-veryTomoeArts 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

salonakoyaAkoya 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 Temple

When: Monday March 13, 2017salonninindojoji 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.

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The Westcoast Calligraphy Society’s exhibition “Things That Go Bump in the Night” features a collection of spooky lettering displays that will be at the IKBLC from September 30th to October 27th. This exhibition theme is part of the society’s meeting about “Words on the Dark Side“. The exhibition shows framed pieces with spooky phrases written in different ways and many other smaller works written in colored pencils against black paper.

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The Westcoast Calligraphy Society consists of an enthusiastic group of people who continue to share their knowledge of design, color, illustration, bookbinding, paper making and other talents with everyone interested in the art of letters. Many of their members also teach beginning and more advanced calligraphy throughout the Lower Mainland.img_6694


What is Calligraphy – Watch an interactive video on Old English Calligraphy Style Lettering

The society was first established in September 1978 as the Society for Italic Handwriting, B. C. Branch. As it continued to grow and its members’ interests expanded, the focus broadened to all types of calligraphy and in June 1986, the name was changed to Westcoast Calligraphy Society. Some of the society’s previous exhibitions at the IKBLC include “Letters to the Garden“, “The Lyrical World“, and “Snow, Ice and Gold“.


Recommended Resources for more information:

Koerner Library | PG3487.I7525 C35 2015

Knight, Stan. Historical scripts: A handbook for calligraphers. Taplinger Publishing Company, 1986.
Irving K. Barber Learning Centre | NK3600 .K55 1984

Whalley, Joyce Irene. The Student’s Guide to Western Calligraphy: An Illustrated Survey. Shambhala, 1984.
Irving K. Barber Learning Centre | Z43 .W53 1984

 

 

 

 

 

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Take part in the UBC Welcome Centre Campus Culture Challenge from September 1st to October 14th. Adventure around campus, complete challenges, and win great prizes!

At the Irving K. Barber Learning Centre, come in to the 2nd floor foyer and take a photo of any of the display cases from the current exhibit Mexiquense Popular Art and tweet it with the hashtag #IKBLC.  Take it to the Robert H. Lee Alumni Centre for your stamp!

View the information sheet below or download the passport here.

campus challenge 1 Campus challenge 2

Participants must complete the following challenge to receive a stamp for the Irving K. Barber Learning Centre (no exceptions):

  • Post a photo on Twitter of you in front of the Mexico Fest art exhibit display on the second floor of the IKBLC. Tag #IKBLC

Participants must then go to the UBC Welcome Centre (Robert H. Lee Alumni Centre) to have their challenge verified to receive their stamp.

  • Staff will confirm that the challenge has been completed.
  • Staff will then stamp overtop of the logo or info paragraph of the Irving K. Barber Learning Centre
  • Only ONE stamp is awarded per individual

Frequently Asked Questions:

Who can complete the challenge?
This contest is open to current UBC students, staff, and faculty (valid UBC ID is required when submitting your stamped passport). Other individuals are welcome to complete the passport, but will not be entered into the draws. Only one submitted passport per individual.

How do you collect stamps?
Stamps can be collected by completing the associated challenge at participating venues between September 1st and October 14th. Collect your stamps at the locations and times noted in the venue descriptions. You must prove that you completed the challenge to get the stamp (usually this means showing your social media post on your phone). Note: stamps for the Irving K. Barber Learning Centre and for the Under 19 Koerner’s Pub can be collected at the UBC Welcome Centre.

How do the prizes work?
The Grand prize draw will include all eligible booklets that contain 17 or more stamps, the second draw will include all eligible booklets that contain 12 or more stamps (including those who did not win in the first draw), the third draw will include all eligible booklets that contain 7 or more stamps (including those who did not win in the first and second draws). The draws will only contain eligible booklets that are received before 6pm, Oct. 21st at the UBC Welcome Centre, 1st Floor Welcome Desk, 6163 University Boulevard, Vancouver BC, V6T 1Z1. Any additional costs or expenses incurred redeeming the prize(s) that are not specifically covered by the prize are the responsibility of the winners.

Can you tell me about the standard liability piece?B
None of the participating venues, UBC, alumni UBC, prize contributors or their respective agents or representatives shall be responsible in any way for the use of or bear any liability whatsoever in any way attributable to a prize awarded in the contest.

I still have a question. Can you help me?
For any questions or clarifications, please contact the UBC Welcome Centre front desk at 604-822-3313, alumni.ubc@ubc.ca or in person at the Robert H. Lee Alumni Centre.

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