The purpose of this workshop is to introduce new findings on two important music theories from ancient China and Greece. It focuses on the monochord as a scientific apparatus that aided the development of theories attributed to Guanzi in the seventh century BCE and Pythagoras in the sixth century BCE. These techniques were both musically intuitive and mathematically sound for creating chromatic scales.
Encountering the Unseen is an academic symposium as work of experimental live theater. Our project is to pair artists, choreographers, performers, and musicians from both UCLA and the greater Los Angeles area with professors working in STEM fields at UCLA. The project consists of three workshops, leading up to a fourth and final performance event - an evening symposium of five brief but stimulatin lectures on topics as wide ranging as ecology and evolution, mechanical engineering, astrophysics, and more.
Victor J. Dzau, M.D., is the President of the National Academy of Medicine (NAM), formerly the Institute of Medicine (IOM). In addition, he serves as Vice Chair of the National Research Council. Dr. Dzau is Chancellor Emeritus and James B. Duke Professor of Medicine at Duke University and the past President and CEO of the Duke University Health System. Previously, Dr. Dzau was the Hershey Professor of Theory and Practice of Medicine and Chairman of Medicine at Harvard Medical School's Brigham and Women's Hospital, as well as Chairman of the Department of Medicine at Stanford University.
Trumpeter, multi-instrumentalist, composer, and improviser Wadada Leo Smith is one of the most boldly original and influential artists of his time. Transcending the bounds of genre or idiom, he distinctly defines his music, tirelessly inventive in both sound and approach, as "Creative Music."
For the last five decades, Smith has been a member of the legendary AACM collective, pivotal in its wide-open perspectives on music and art in general. He has carried those all-embracing concepts into his own work, expanding upon them in myriad ways.
Professor Karen Umemoto is the co-author of Jacked Up and Unjust: Pacific Islander Teens Confront Violent Legacies (University of California Press, 2016), the author of Truce: Lessons from an L.A. Gang War (Cornell University Press, 2006), and the recipient of numerous research and service honors, including the W.E.B. DuBois Award of the Western Society of Criminology. Her research centers on issues of democracy and social justice in multicultural societies with a focus on US cities.
The award provides funding to host Rosemarie Garland-Thomson and Karen Nakamura as part of UCLA Disability Studies' conference on Disability as Spectacle. This interdisciplinary conference aims to stimulate a discussion around how society constructs, reacts, and embraces or rejects visible and invisible disabilities in the public sphere. As visibility continues to increase in popular culture, scholars will need to confront a changing landscape in which (some) disabilities are de-stigmatized while others are prevented from participating in the new visibility.
Support for an international, interdisciplinary symposium, "Keys to Voice Studies: Concepts, Methods, and Questions from Across Disciplines," gathering artists and scholars in the arts, humanities, and sciences so that they may share their work and collaborate toward a more complete understanding of voice.
A public symposium taking a critical view of 2016 through a controversial song that announced a cultural turn toward a Trump presidency: “The Star-Spangled Banner.” Featured guests will include NFL quarterback and activist Colin Kaepernick, whose refusal to stand during the playing of the national anthem caused a national firestorm of debate, as well as Rene Marie, a jazz vocalist whose 2008 performance of the anthem in advance of the Democratic National Convention combined the tune of “The Star-Spangled Banner” with the lyrics of the Negro National Anthem “Lift Ev’ry Voice and Sing.” Event
Graduate and undergraduate workshop for students in support of the project's long term goal of creating a performance production of Messiaen's Quartet for the End of Time as a fully immersive concert experience, where the audience with the performers and actors are together enveloped inside a live video projection environment.